宋杂剧 – Chinese philosophy and culture

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Sònɡzájù 宋杂剧

Poetic Drama of the Song Dynasty

宋代产生的由滑稽表演、歌舞、杂戏组合而成的综合性戏曲形式,是以唐代参军戏为基础并吸收当时的歌舞、曲艺等发展起来的早期戏剧形式。内容上以滑稽讽刺为主,演出形式多采用“一场两段”,有时候会增加“杂扮”。宋杂剧角色有四到五人,一人主唱,主要通过演唱大曲叙事,其他角色则承担宾白、插科打诨、歌舞表演等。北宋时期的戏剧演出非常普遍,开封、洛阳两地尤其兴盛。整个两宋期间,杂剧也在不断演变中,角色分工更细,造型手法更多样,戏剧情节更复杂。宋杂剧是元代北杂剧的前身,其艺术形态、艺术手法等也直接影响了后世的其他戏剧形式。

Poetic drama of the Song Dynasty refers to a combination of comic shows, song and dance, and variety shows. It is an early form of traditional Chinese drama based on Canjunxi (comic dialogical plays of the Tang Dynasty) and drawing elements from song and dance plus other forms of folk art. It is mainly jocular and satirical. Its performance is divided into two sections. The first is a warmingup show whereas the second section is the “real thing.” Sometimes, skits will be added to a regular show to enhance the fun. Each poetic drama has four or five characters, with one of them being the main singer who narrates events by singing major arias while the others do the spoken parts, throw in impromptu remarks for comic relief, or simply sing and dance. Dramatic performances were very popular in the Northern Song Period, especially in Kaifeng and Luoyang. Throughout the Northern and Southern Song dynasties, poetic drama kept on growing and reached a new height, further dividing roles, varying postures and making plots more intricate. Poetic drama of the Song Dynasty predated that of the Yuan Dynasty. Its artistic forms and techniques directly influenced later forms of drama.

引例 Citations:

◎杂剧中,末泥为长,每四人或五人为一场,先做寻常熟事一段,名曰艳段,次做正杂剧,通名为两段。末泥色主张、引戏色分付、副净色发乔、副末色打诨,又或添一人装孤。(灌圃耐得翁《都城纪胜·瓦舍众伎》)

(杂剧中,末泥是主要角色,每四人或者五人表演一场戏。先演出日常生活中大家熟悉的题材,称为“艳段”,然后演出正式的杂剧,这通常称为“两段”。末泥主导表演,引戏负责引导吩咐,副净负责装憨弄傻,副末负责插科打诨,又或者添一个角色装孤。)

In the poetic drama of the Song Dynasty, moni is the main male role while four or five characters perform the whole play together. They begin by acting out a familiar situation adapted from daily life (yanduan), a warming-up section of the performance. Then they put on the poetic drama itself. Of the entire cast of characters, moni is always in the limelight. Yinxi, for his part, guides the show by giving directions or dropping a hint where necessary. Fujing is supposed to act like a clown, whereas fumo makes comical remarks. Sometimes, there may appear a government official to suit the need of plot development. (Naideweng: Wonders of the City of Lin’an)

◎山谷云:“作诗正如作杂剧,初时布置,临了须打诨,方是出场。”盖是读秦少游诗,恶其终篇无所归也。(王直方《王直方诗话》,引自郭绍虞辑《宋诗话辑佚》)

(黄庭坚说:“写诗就像写杂剧,开始的时候经营布置,临到最后要打诨,方才结局完整。”大概是他读秦观的作品,不喜欢秦观的作品写到最后都无所归附。)

As Huang Tingjian puts it, “Writing poetry is like writing drama. You start out by making overall arrangement, while toward the end, you have to sound conclusive by making some offbeat remarks for fun.” This is perhaps because he didn’t like Qin Guan’s works for their lack of purpose after he read them. (Wang Zhifang: My Commentaries on Poetic Creation)

Huang Tingjian – 黄庭坚

 

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