二十世紀初期京劇淨行演員及其唱腔研究：以《牧虎觀》、《御果園》為例

形成於十九世紀的京劇，在二十世紀初時，發展的勢頭風潮臻於極盛。新興的唱片錄音科技也於十九世紀末抵達中國，留下了一批珍貴的老唱片，以不同於書面文字的方式，記錄著京劇有聲的過往。老唱片所能記錄的雖然只有聲音，然而聲音、亦即「唱腔」，正是戲曲藝術的核心之一。本文以淨行的唱腔藝術為討論範圍，時間是1920年以前，曾錄製唱片的京劇淨腳演員十三人及其唱片112種為綜合討論對象，並於其中挑選當時兩出淨行代表劇目《牧虎關》、《御果園》做細緻的唱腔分析。就行當而言，錄製唱片的淨腳行當有「銅錘」、「架子」兩種。從唱片片目來看，此批唱片顯示了這一時期銅錘的流行取代了架子；早期京劇發展中的「應工」現象還保留在《打嚴嵩》、《打麵缸》等唱片中；還有淨行的配角特性，所錄製的唱片雖多，但是不少都是配戲，而非主演。而從演員名單觀察，唱片保留了何桂山的原唱，並蒐羅若干在「京劇史書寫」上消失的演員，彌足珍貴。由唱片亦能聽出，當時的淨行唱腔普遍受到何桂山、穆鳳山二人的影響。最後，通過版本豐富的《牧虎關》、《御果園》唱片的逐片分析，以及引用歷來評論文獻，可以看到以何桂山、穆鳳山為代表的老派唱腔風格，過渡到以金秀山為代表的新風格之痕跡。他們的表演藝術逐漸被接下來的世代，金少山（1889－1948）的新金派與裘盛戎（1915－1971）的裘派所掩，但是其間遞嬗之跡，仍可透過老唱片提供的線索與相關文本互證，以呈現表演藝術發展之規律。

關鍵字

老唱片；京劇；流派；淨腳；唱腔

並列摘要

Originating in the nineteenth century, Beijing opera reached its peak in the early twentieth century. With the new sound recording technology introduced to China in the late nineteenth century, many precious recordings were produced and preserved, and these vocal documents allow a different approach to the history of Beijing opera. As the multiple vocal accents of Chinese traditional opera actors form an essential part of the art, this paper singles out thirteen jing actors who made records before 1920, and selects a hundred and twelve albums to scrutinize their vocal accents, especially focusing on two representative works of the jing character-”Muhuguan” and ”Yuguoyuan”.Jing characters include ”tongchui” and ”jiazi.” The track listings on the albums show that ”tongchui” was more popular than ”jiazi” during this period, and the phenomenon of ”yinggong” was still preserved in the recordings of Dayansong, Damiangang, etc. Also, although jing actors' voices occurred in the recordings, they were more supporting than main roles. Moreover, this group of records helped preserve the original voices of He, Guishan and other actors missing in the written history of Beijing opera. It can be found that the vocal accents of jing actors were generally influenced by He, Guishan and Mu, Fengshan. Last but not least, through a thorough analysis of the many versions of the recordings of ”Muhuguan” and ”Yuguoyuan” and relevant research materials, we can see a transition from the old accent represented by He, Guishan and Mu, Fengshan to the new accent represented by Jin, Xiushan. Their performance styles were superseded by that of the subsequent generation of actors, Jin Shaoshan (1889-1948), Qiu, Chengrong (1915-1971) and their respective apprentices. This evolution traced in the old records and relevant materials provides important historical information to the performance art of Beijing opera.