- 期刊
Property of the State, Prisoners of Music: Identity of the Song Drama Players and Their Roles in the Washi Pleasure Precincts
國家的財產，音樂的囚徒：宋代雜劇演員的身分及他們在瓦市中的角色之研究
摘要
This paper responds to the widely accepted yet overly simplistic assumption in Song drama studies that the drama players were ordinary people, who were liberated from agricultural activities because of the economic and commercial boom from the ninth century onward, and acted of their own will to choose drama performance as their means of making profit. Based on an in-depth investigation of the long history of the musician household registration system from the early medieval to late imperial periods, this paper proves that the majority of the goulan drama players belonged to the musician households, were trained by and for the government, and had little freedom to change their identity. It also further reveals how the Song court and its civil and military bureaus controlled and used the entertainers in the pleasure precincts, deliberately established in the capital and other cities, to facilitate wine selling and other government-owned profitable enterprises.
並列摘要
宋雜劇研究中有一種過於簡化但被廣泛接受的假設，那就是雜劇演員都是平民百姓：由於自晚唐以來經濟和商業的繁榮，一部分人得以從農業生產中解放出來，並自願地選擇雜劇演出作為其謀利的手段。本文就是針對這一假設作出的回應。文中對於自南北朝至兩宋時期持續幾百年的樂戶制度作了深入探討，並在此基礎上對宋代雜劇演員的身分及其在瓦市經濟中的角色和地位作出推測，認為不僅在勾欄中演出的大部分雜劇演員出身於樂戶，接受政府培訓，為政府服務，不能自由改變樂籍身份，而且從皇室到相關政府部門及軍隊系統都在大都市，尤其是都城，設有瓦市，並利用瓦市操縱藝人為其榷酒及其它政府控制的商業經濟活動服務以從中牟利。