明代私人家樂研究

A Study of the Family Troupes in Ming Dynasty

柯香君(Hsiang-Chu Ko)

《國文學誌》 13期 (2006/12) Pp. 125-168

https://doi.org/10.6973/CJ.200612.0125

摘要

私人家樂是明代戲曲演出之重要群體。家樂繁盛，始自明代中葉嘉靖，經濟昌榮之後，主要集中於長江中下游，江南一帶。明代蓄養家樂之身份，以文人士大夫為主，家樂主人不僅編寫劇本以供演出，亦親自教導演戲，甚至粉墨登場。其間家樂主人並往來密切，因而促進戲曲日益精緻化，產生折子戲之演出方式。家樂主人除了使家樂做氍毹式之堂會演出外，亦興建庭園閣樓、華美樓船以供演出，增添多樣化之演出場所，對明代戲曲表演藝術供獻良多。在聲腔上，明代隨著私人家樂風氣之助長，不僅造成崑山腔之獨盛局面，也為其他聲腔劇種之流播產生必然性之影響。

關鍵字

私人家樂 ； 折子戲 ； 表演藝術 ； 家班 ； 聲腔

並列摘要

Family Troupes are important group of Ming Dynasty opera performance. Since emperor Jiajing of Ming Dynasty middle period, Family Troupes are prosperity. At that time, the economy of China is prosperous. It concentrates in regions of the Changjiang River mainly. Person who trains Family Troupes in the Ming Dynasty, the main identity is Gentry-Literatus. The master of Family Troupes can write dramas for the performance, and teach actor performance in person, even perform by oneself. At the same time, the master of Family Troupes interflow each other. Make Chinese opera art more and more exquisite. So cause performance ways of ”Fragmented Highlight”. The master of Family Troupes are not only act out on the hall of Arpet, but also build the flower garden and the beautiful ship, and perform on them. The operatic tunes on the Ming Dynasty, because Family Troupes grow prosperity more and more, it not only Kunshan Tone wins the situation alone, but also influence the spread of other operatic tunes.

並列關鍵字

Ming Dynasty ； Family Troupes ； Fragmented Highlight ； Operatic Tunes ； Performing Arts

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