摘要
将婺源徽剧传习所藏《水淹七军》抄本、歙县胡广荣抄本影印本《水淹七军》、乾隆内府抄本《鼎峙春秋》等文本进行比勘,结合徽班徽剧发展历史,揭示从车王府曲本《水淹庞德》至徽班演出本《水淹七军》再至京剧印本的文本流转和变迁。晚清徽剧抄本《水淹七军》继承发展了车王府曲本《水淹庞德》中“观阵”内容。以《戏考》为代表的“京”本《水淹七军》在承接“徽”本情节内容、音乐声腔的基础上,精简关目,凝练语言。两种徽州徽剧抄本记录了昆腔、卜子和吹腔合目样态,为探究晚清民国花雅合目剧本在徽州一带的演播提供新的样本。不同抄本中的音乐提示为探究吹腔、拨子早期音乐内涵提供了原始资料。
This article compares and analyzes the texts of The Seven Armies in Water collected by the Conservatory of Wuyuan Huizhou Opera,The Spring and Autumn Annals in Dingzhi collected by Hu Guangrong in Shexian,as well as The Spring and Autumn Annals in Dingzhi collected by the Qianlong Inner Mansion.Combined with the development history of Huizhou Opera,it reveals the text circulation and changes from the Chewang Mansion opera version The Pond in Water to the Huizhou Opera performance version The Seven Armies in Water and then to the Beijing Opera print version.The copy of the late Qing Huizhou Opera Seven Armies in Water inherits and develops the content of“observation”in the Chewang Fu opera Pang De in Water.Represented by Xikao,the“Jing”version of The Seven Armies in Water inherits the plot content and musical tone of the“Hui”version,simplifies the focus and condenses the language.Two types of Huizhou opera manuscripts record the combination of Kunqiang,Buzi,and Chuiqiang,providing new samples for exploring the performance of the Huaya Hemu script in the Huizhou area during the late Qing and Republican dynasties.The music prompts in different manuscripts provide raw materials for exploring the early musical connotations of blowing and plucking.
作者
蒋小平
唐钟禹
JIANG Xiaoping;TANG Zhongyu(School of Art,Anhui University,Hefei 230031,China)
出处
《安徽开放大学学报》
2024年第1期77-82,共6页
Journal of Anhui Open University
基金
安徽省社科规划基金重点项目“徽剧抄本文献整理研究”(项目编号:AHSKZ2018D12)。
关键词
《水淹七军》
抄本
流变
经典化
The Seven Armies in Water
manuscript
rheology
classicization
