從拉魂腔到柳琴戲：一個劇種的歷史傳承與時代變遷

柳琴戲脫胎於清代中葉出現的拉魂腔，二十世紀五〇年代具有了官方文化體系下的「劇種」身分認同（1953年拉魂腔正式定名柳琴戲），隨後，裹挾在全國「戲改」浪潮中，完成了定腔定譜、上本定詞等一系列藝術轉型。時至今日，柳琴戲已成長爲活躍在魯南、蘇北交界區域並在全國頗具影響的地方劇種。本文借用「拉魂腔」名稱中特有的時代性因素（下限於1953年）來指代這一藝術形式沒有得到官方體制認可之前所具有的藝術特性與生存狀態；借用「柳琴戲」這一新中國建立初期產生的劇種名稱，指代同一藝術形式在新文化體制下的種種狀態。從拉魂腔到柳琴戲的動態變化中，不僅有音樂、劇碼等藝術本體的變化，還涉及表演主體、表演機構、傳承方式等社會屬性的轉型，這些變化和轉型正是本文所要關注的核心問題所在。從拉魂腔到柳琴戲，從民間腔調到地方劇種，實際上是中國眾多劇種成長所經歷的共同歷程的縮影。本文以柳琴戲一個劇種爲視角，以二十世紀五〇年代「戲改」爲中心，力求展示歷史轉型中戲曲藝術本體和社會角色的傳承與變遷，從而揭示社會力量與藝術形式之間的聯帶關係。

關鍵字

拉魂腔；柳琴戲；民間腔調；地方劇種；轉型

並列摘要

The Liuqin Theater was born out of the Lahun Tune that emerged around mid-Qing. It was identified officially as a theatrical genre in 1953. Hence, it underwent a series of artistic transformation, including finalized transcription of music and scripts. Nowadays, the Liuqin Theater has become a regional theatrical genre both active in southern Shandong and northern Jiangsu and gaining influences nationwide. I use the term Lahun Tune to refer to the period characteristics of this art form, including its artistic features and state of existence before it entered the official system in 1953. The term, Liuqin Theater, designated at dawn of the new China, is used to refer to the various states of the same art form. Progressive transformation from Lahun Tune to Liuqin Theater gave rise to fundamental changes in terms of music, repertoire, as well as social attributes like performing subjects, organizations, and ways of transmission. Such are the subject matter and primary concerns of this article. The evolvement from a folk singing style to a regional theatrical genre is a common process many theaters in China had gone through. With Liuqin Theater as an example and the Theater Reform Movement of 1950s its background, this article endeavors to demonstrate the transmission and transitions of art forms themselves and their social roles in historical transformation, so as to reveal the coordinate relations between social forces and art forms.