本文選題：末腳 + 副末　； 參考：《戲劇藝術》2014年06期

【摘要】："末腳"是戲曲行當體系中最特殊的部分。前人的"末腳"研究多集中于其起源,但因材料匱乏而聚訟紛紜,而且甚少注意到清末以來"末腳"在京昆等主流劇種中絕跡這一現(xiàn)象。本文從"末腳"的衰微入手,從戲班與劇本兩個層面考察其主要職能:戲班中的領導者,劇本中的指揮者。"末腳"衰微的實質(zhì)是其"領導權"的喪失。本文運用中國藝術"模塊化"和"規(guī)�；�"生產(chǎn)的理論,揭示高度分工的腳色體制是"末腳"領導職能生成的深層原因,并認為這導致南戲中"末"的名目(象征戲班領導權)從主演(雜劇中的末泥)過渡到了調(diào)度者(雜劇中的引戲)身上。文人傳奇將其化為"代曲家立言"的特殊腳色,使劇本中的"末腳"與戲班中的"副末"分離,后者取代前者成為領班腳色。
[Abstract]:The last foot is the most special part of the opera line system. Previous researches on the "end foot" mostly focused on its origin, but there were many disputes due to the lack of materials, and little attention was paid to the phenomenon that the "end foot" had disappeared in the mainstream operas such as Beijing and Kunming since the late Qing Dynasty. This article starts with the decline of the Last foot and examines its main functions from two aspects: the leader in the stage and the conductor in the script. The essence of the decline of the late foot is the loss of its "leadership". Based on the theory of "modularization" and "large-scale" production in Chinese art, this paper reveals that the role system of high division of labor is the deep reason for the formation of the leading function of "late foot". It is believed that the title of "the end" in the Southern Opera (symbolizing the leadership of the opera) has transitioned from the leading role (the last mud in the drama) to the dispatcher (the introduction of the drama). The literati legend changed it into a special role of "standing words on behalf of the songwriter", which separated the "last foot" in the script from the "secondary end" in the drama, which replaced the former as the foreman's role.
【作者單位】： 武漢大學;
【分類號】：J809.2

【參考文獻】

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