戲曲腳色行當形成的規律

The Pattern of Formation of Role Types in Chinese Opera

周華斌(Hua-Bin Zhou)

《戲曲學報》 3期 (2008/06) Pp. 73-88

https://doi.org/10.7020/JTCT.200806.0073

摘要

中國傳統戲曲的表演體制是以表演為中心的腳色行當制。腳色行當制有兩個要素：一，表演技藝；二，類型化的角色（戲劇人物）。它的形成在戲曲史上呈現出如下規律：獨腳戲―二小、三小戲―五花爨弄―末、旦、淨－七子班－江湖十二腳色－民間「花部」行當的自由拓展－京劇的行當。
京劇行當是傳統戲曲腳色行當的集大成者，稱「十行腳色」（生、旦、淨、末、丑，外、雜、上、下、流）或「七行腳色」（生、旦、淨、丑、雜、武、流）。其中，在生、旦、淨、丑四大行當中，又有老、少、文、武、唱工、做功等更為細密的區分。由此，又產生了表演技藝高超的角兒」以及「流派」。

關鍵字

戲曲 ； 行當 ； 腳色 ； 角兒

並列摘要

The performance system of traditional Chinese opera involves role types systems based on performance. There are two key elements to the role types system: 1) Performance; typical roles (characters). Its formation has the following pattern in the history of Chinese opera: solo show-Er Hsiao. San Hsiao Opera-Wu Hua Cuan No-Mo (middle-aged or old male characters), Dan (female roles), Jing (male roles with painted faces)-Qi Tze Ban-12 roles of Jiang Hu-free development of the ”Hua Bu role in folk culture-Role types in Peking Opera.
The role types in Peking Opea are the collection of role types in folk operas, and are called the ”Ten role types” (Sheng, Dan, Jing, Mo, Chou, Wai, Tza, Shang, Hsia, Liu), or ”Seven role types” (Sheng, Dan, Jing, Chou, Tza, Wu, Liu). In Sheng, Dan, Jing, and Chou roles there are subdivisions of Lao, Shao, Wen, Wu, Chang Gong, & Cuo Gong; thus, star performers or schools with exceptional performance techniques were developed.

並列關鍵字

Opera ； types ； roles ； star performers

參考文獻

明徐渭(1959)。中國古典戲曲論著集成：南詞敘錄。北京:中國戲劇出版社。

明王驥德(1959)。中國古典戲曲論著集成：曲律。北京:中國戲劇出版社。

(1983)。中國大百科全書·戲曲曲藝卷。北京:中國大百科全書出版社。

周貽白(1979)。中國戲曲發展史綱要。上海:上海古籍出版社。

周華斌(2003)。中國戲劇史論考。北京:北京廣播學院出版社。