論說戲曲雅俗之推移（上）──從明嘉靖至清乾隆

A Study on the Competition between Refined and Popular Plays

曾永義(Yong-Yih Tseng)

《戲劇研究》 2期 (2008/07) Pp. 1-48

https://doi.org/10.6257/2008.2001

摘要

When there are references to ”the competition of hua and ya,” in the history of Chinese drama, these ”flowery and refined” aspects mean distinctions between elegant and popular presentations. Their mutual interaction promoted the development of Chinese culture and literature, as did institutionalized drama and tune oriented drama since the establishment of the Southern opera and Northern play. Through an examination of classical literature, this paper intends to clarify the mutual relation between refined and popular plays as they rose and declined. During the Jiajing reign of the Ming dynasty the Northern play was regarded as elegant and Southern opera was popular. By the Wanli reign Yiyang music, recruiting Yuyao music, was considered popular; while Kunshan music, continuing the tradition of Haiyan music, appeared to be refined. Among the entertainment at Wanli's court there were court plays and outside plays. The latter, such as Kunshan and Yiyang music, dadao and guojin plays, seemed to be vulgar if compared to the refined Northern court plays. From the Kangxi reign to the Jiaqing reign of the Qing dynasty court entertainment included the refined Kunshan music and the popular Yiyang music. In the Qianlong reign, so-called flowery luantan (miscellaneous tunes) became popular in which Beijing music, Shaanxi bangzi, and Sichuan bangzi prevailed over refined Kunshan music. The arrival at Beijing of Anhui play troupes in 1790 brought vigorous rivals to Kunshan music, especially as Xipi music and Erhuang music dominated Anhui plays after 1840. When in 1867 pihuang plays were presented in Shanghai and were known as Beijing Opera, not only Kunshan music drew its last breath, but also Beijing music and Shanxi bangzi withered away in the meantime. Evidently, the competition between refined and popular plays always results in different genres incorporating each other and developing a brand new style. Both institutionalized drama and tune oriented drama underwent the same process. Maybe we can describe the development of Chinese history of drama in terms of a competition between refined and popular presentations.

關鍵字

花雅爭衡 ； 雅俗推移 ； 雅部崑腔 ； 花部亂彈 ； 京劇

並列摘要

When there are references to ”the competition of hua and ya,” in the history of Chinese drama, these ”flowery and refined” aspects mean distinctions between elegant and popular presentations. Their mutual interaction promoted the development of Chinese culture and literature, as did institutionalized drama and tune oriented drama since the establishment of the Southern opera and Northern play. Through an examination of classical literature, this paper intends to clarify the mutual relation between refined and popular plays as they rose and declined. During the Jiajing reign of the Ming dynasty the Northern play was regarded as elegant and Southern opera was popular. By the Wanli reign Yiyang music, recruiting Yuyao music, was considered popular; while Kunshan music, continuing the tradition of Haiyan music, appeared to be refined. Among the entertainment at Wanli's court there were court plays and outside plays. The latter, such as Kunshan and Yiyang music, dadao and guojin plays, seemed to be vulgar if compared to the refined Northern court plays. From the Kangxi reign to the Jiaqing reign of the Qing dynasty court entertainment included the refined Kunshan music and the popular Yiyang music. In the Qianlong reign, so-called flowery luantan (miscellaneous tunes) became popular in which Beijing music, Shaanxi bangzi, and Sichuan bangzi prevailed over refined Kunshan music. The arrival at Beijing of Anhui play troupes in 1790 brought vigorous rivals to Kunshan music, especially as Xipi music and Erhuang music dominated Anhui plays after 1840. When in 1867 pihuang plays were presented in Shanghai and were known as Beijing Opera, not only Kunshan music drew its last breath, but also Beijing music and Shanxi bangzi withered away in the meantime. Evidently, the competition between refined and popular plays always results in different genres incorporating each other and developing a brand new style. Both institutionalized drama and tune oriented drama underwent the same process. Maybe we can describe the development of Chinese history of drama in terms of a competition between refined and popular presentations.

並列關鍵字

competition of hua and ya ； rise and decline of refined and popular arts ； Kunshan music as refined ； miscellaneous tunes as flowery ； Beijing Opera

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