京劇名伶灌唱片心態探析─物質文化與非物質文化相遇（以京劇為例之二）

本文為「物質文化與非物質文化相遇─以京劇為例」系列研究之二，聚焦於「京劇唱片」，切入物質文化與非物質文化相遇時的伶人心態。唱片傳入中國後，強大的傳播力量對於京劇典範的建立產生不可忽視的影響，但早期京劇名伶與新興物質文明產物初遇時，心態上未必全然信任，並不能將傳播重任安心交託唱片。本論文先指出早期唱片竟出現冒名假托現象，進而利用「摟葉子」等術語名詞，分析京劇流行時期伶人同行相忌的防人之心，解釋唱片贗品充斥的現象。後半以譚鑫培、余叔岩唱片為主，通過余叔岩不同時期灌片所選唱段之比較分析，考察余面對老師譚鑫培唱腔流傳的心態。從同戲不同段、不敢與之爭鋒，到自成一派後刻意重複，分庭抗禮，京劇師徒間微妙複雜的關係，可從唱片中窺測剔抉，而唱片對於典範建立所起的力量，自是不容忽視。本文以物質與非物質文化相遇為思考切入點，剖析伶人心態與京劇文化。

關鍵字

京劇；唱片；余叔岩；物質文化；非物質文化

並列摘要

This paper focuses on Peking Opera records, specifically on the attitudes that opera performers exhibited when material and non-material cultures encountered each other. After the introduction of the phonograph disk into China, despite its far-reaching power that helped to establish Peking Opera paradigms, there arose skepticism among opera masters as to whether records were a trustworthy means of promoting their art. Some early artists actually published under the name of more famous opera masters. Here, I use the expression lou yezi (摟葉子) to describe the performers' ”two of a trade can never agree” mentality, which explains why replicate records flooded the market. The second half of this paper focuses on the recordings of Tan Xin-pei and Yu Shu-yan. Comparing selected arias from different stages of Yu's career, one can see his changing attitude toward transmitting Tan's style: initially, he chose different arias from the same work because he was unwilling to compete with his master, while later on, he deliberately picked the same selections to signal the establishment of his own style. The subtle yet complicated relationship between master and apprentice in the world of Peking Opera can be found in these recordings. The role of recordings in the establishment of paragons cannot be overlooked.