本文關(guān)鍵詞： 《審音鑒古錄》 昆劇 舞臺藝術(shù)　出處：《南京大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：昆劇發(fā)展到清代,折子戲的表演模式逐漸形成,演出的精簡為藝人演技的提高提供了契機。當(dāng)表演的體制和內(nèi)容趨于定型,記錄表演的身段譜開始登上了歷史舞臺。身段譜注有砌末、穿戴服飾、身段、表情、舞臺調(diào)度、鑼經(jīng),為昔時藝人自備或授藝所用。目前可知的著名的身段譜主要有藏于上海圖書館的《昆曲身段譜》甲乙兩編共十五冊,和清代昆劇身宮譜選集《審音鑒古錄》。而《審音鑒古錄》是目前唯一出版的身宮譜選集。 《審音鑒古錄》收錄了昆曲折子戲六十六出(實為六十五出),其中《琵琶記》十六出、《荊釵記》八出、《紅梨記》六出、《兒孫福》四出、《長生殿》六出、《牡丹亭》十出(《堆花》一出有目無文,實為九出)、《西廂記》六出、《鳴鳳記》四出、《鐵冠圖》六出。據(jù)考證,該書當(dāng)成書于1782年之前,現(xiàn)流行的《審音鑒古錄》為道光十四年東鄉(xiāng)王繼善補定的原刊本,王秋桂主編《善本戲曲叢刊》,北京學(xué)苑出版社都是以此本影印出版,書中有琴隱翁序,稱此書是王繼善從京師“輾轉(zhuǎn)購得原版,攜歸江南”,稍加補訂刊印的。《審音鑒古錄》與其他昆劇選本最大的不同就在于它對人物的穿關(guān)、砌末,演員的唱念表演和場面調(diào)度都做了詳細(xì)的提示。筆者認(rèn)為它是一本“昆劇舞臺藝術(shù)的教科書”,起著匡正時弊的作用。書中折射出作者的昆劇舞臺藝術(shù)觀,而其中蘊含的舞臺藝術(shù)理論對現(xiàn)代的昆劇藝術(shù)也有一定的借鑒作用。 對此,筆者分穿關(guān)砌末藝術(shù)論,演員表演藝術(shù)論和場面調(diào)度藝術(shù)論三個部分進(jìn)行詳細(xì)闡述。第一部分,筆者將文本中記載的演員穿關(guān)、舞臺砌末與明代生活服飾,當(dāng)時舞臺上流行的某些穿戴、砌末進(jìn)行對比,概括出穿關(guān)、砌末當(dāng)與人物、劇情相統(tǒng)一,穿戴色彩追求整體和諧,穿關(guān)砌末務(wù)求簡約的舞臺原則。第二部分論述了舞臺藝術(shù)的根本,即演員的表演藝術(shù)。演員的唱念身段必須有法可依,這所依之法分別為表演有程式、唱做合一、務(wù)求圓曲。而在人物塑造上當(dāng)以表現(xiàn)人物神韻為最高標(biāo)準(zhǔn),包括對人物基調(diào)的把握、對生活真實的遵循、對人物情緒的體現(xiàn)。第三部分為舞臺調(diào)度藝術(shù)論,筆者從場上配合、空間調(diào)度和情節(jié)調(diào)度三方面來論述作者在書中暗含的舞臺調(diào)度理論。
[Abstract]:With the development of Kunqu Opera into the Qing Dynasty, the performance mode of the Xianzi Opera was gradually formed, and the streamlining of the performance provided an opportunity for the improvement of the entertainers' acting skills. When the system and content of the performance tended to be finalized, The record of the performance began to appear on the historical stage. It was marked with masonry, wearing clothes, body parts, expressions, stage scheduling, gongs, gongs, gongs, gongs, gongs, gongs, gongs, gongs, and gongs. At present, the most famous genealogies are 15 volumes of "Kunqu Opera", a and B, which are collected in Shanghai Library. It is the only selected collection of body music of Kunqu Opera in Qing Dynasty, and it is the only one published at present. The book includes 66 pieces of Kun Opera (65 of them), of which 16 are from the Book of Pipa, eight from Jing Chai, six from Red Pear, four from Children and grandchildren, six from the Palace of Everlife, and six from Peony Pavilion. Ten (heaps of flowers) one has no object and no text, In fact, there are nine out of the box, six out of the West Chamber, four out of the Ming Feng Ji, and six out of the Iron Crown. According to textual research, the book became a book before 1782, and the current popular book "reviewing and judging the Ancient Records" is the original edition of Tao Guang's 14-year Dongxiang Wang Jishanbuding. Wang Qiu-gui 's editor-in-chief of the "Shan-Ben Opera Series", which is published by Beijing Xueyuan Publishing House, has Qin Yinweng preface, saying that this book is the original version that Wang Jishan bought from the Peking teacher. Take it back to the South of the Yangtze River, "slightly supplemented and published." the biggest difference between the selected books of reviewing Yin and Jian Gu and those of other Kun Opera operas lies in the fact that they wear customs and masonry to the characters. The actor's singing and reading performance and scene scheduling are all given a detailed hint. The author thinks that it is a textbook for the stage art of Kunqu Opera, which plays a role in correcting the shortcomings of the stage. The book reflects the author's view of the stage art of the Kunju Opera. And the theory of stage art contains some reference to the modern Kunqu Opera art. In this regard, the author divided into three parts, namely, the theory of the art of passing through the customs, the theory of the performing art of the actors and the theory of the art of scene scheduling. The first part, the author put the actors through the customs, the stage masonry and the life dress of the Ming Dynasty, which are recorded in the text. At that time, some of the popular costumes and masonry were compared on the stage, and summarized that the wear, masonry and characters should be unified with the plot, and wear colors to pursue overall harmony. The second part discusses the fundamental of stage art, that is, the performing art of actors. Actors must have laws to follow in their singing and reading. The highest standard is to show the charm of the characters, including grasping the tone of the characters, following the reality of life, and embodying the emotions of the characters. The third part is the art theory of stage scheduling, the author cooperates with each other from the field. Space scheduling and plot scheduling are discussed in this paper.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J825

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