| 摘要: | 清代的揚州，地處揚子江與運河的交匯點，既是漕運碼頭，又是兩淮鹽務所在地，交通便利、商業發達、鹽業繁盛、人文薈萃，加上揚州鹽商這個特殊的群體，為戲曲活動提供了雄厚的經濟支持。又康熙、乾隆皇帝南巡時，揚州乃是往返必經之地和駐蹕之所，鹽商為迎鑾接駕，遂高價聘請各地名班、名伶、劇作家、編曲家等，將很多聲腔劇種帶入揚州，於是揚州成為南方戲曲活動的中心，無論是在全國演出逐漸衰弱的崑曲，還是具有逐漸興盛之勢的亂彈，在揚州都有其寬廣的活動舞臺。本論文《清代揚州劇壇研究》全文共分八章：
第一章緒論，說明本論文之研究動機與目的，界定研究範圍與研究現狀，整理與本論文相關的前人研究，做文獻回顧與探討，並闡述研究方法與論文架構。
第二章探析清代揚州地區劇壇有利的發展條件，首先，探討揚州鹽商與戲曲文化的關係，從揚州的地理與歷史環境、鹽商的經濟的支持、供奉乾隆南巡、蓄養戲班、建造園林演戲等方面來說明。其次，說明文人、鹽商、鹽政參與戲曲活動的情形。最後，說明揚州清曲、揚州曲妓與揚州戲曲的淵源，以及揚州主要流行聲腔與清代揚州戲曲表演場所。
第三、四章，以時間範圍為界定，將清代分為順康雍時期、乾嘉時期、道光以後（道咸同光宣）三個歷史階段，分別探討「雅部」與「花部」的演出活動，並梳理演出戲班、演員和演出劇目。
第五章探討清代揚州劇壇的戲曲創作，將清代分為順康雍時期、乾嘉時期、道光以後（道咸同光宣）三個歷史階段，分為揚州籍劇作家與客居揚州劇作家，分別介紹這些劇作家的戲曲創作，與戲曲作品內容概況。
第六章研究清代揚州戲曲家的戲曲論著，其中最具代表性的是李斗《揚州畫舫錄》、焦循《花部農譚》，本論文以此二書為主要研究對象，探討此二書的戲劇觀與戲劇價值。
第七章探討清代揚州劇壇的嬗變，包括禁止官員蓄養家班、揚州鹽商家班的興起、奉旨審查、刪改戲曲之舉、魏長生崛起與禁秦腔、江春之春臺班與花部興起、揚州徽班的興起與發展。
第八章結論乃是對本文研究過程中提出問題討論，提出自己的觀點，並總結本文的研究成果。
Yangzhou, located at the intersection of the Yangtze River and the canals, was a port in the caoyun grain transportation system as well as the center of the salt trade in the Lianghuai region. A transportation hub with a highly developed economy and flourishing salt industry, it also boasted a vibrant arts scene. These conditions, and the presence of the peculiar group that was the Yangzhou salt merchants, provided robust support for operatic theater. In addition, during the southern tours of the Kangxi and Qianlong Emperors, Yangzhou was an obligatory stop on the itinerary. To welcome the emperors, the salt merchants hired famous troupes, actors, singers, playwrights, musical arrangers, etc. from various regions at a premium, thereby introducing many styles of music and drama into Yangzhou and transforming Yangzhou into the southern center of opera. Every type of opera, from the kunqu that was suffering a gradual national decline to the luantan that saw growing popularity, enjoyed its own corner of the wide stage in Yangzhou. This paper, “A Study of Yangzhou Opera in the Qing Dynasty,” is divided into eight chapters:
Chapter One, the introduction, describes the impetus for the study and its purpose, and defines the study’s scope and its present state. It reviews and organizes the relevant literature, and discusses the study’s research methods and the paper’s structure.
Chapter Two explores and analyzes the favorable conditions for the development of Yangzhou regional theater in the Qing Dynasty. First, it explores the relationship between the Yangzhou salt merchants and the opera culture from the following perspectives: Yangzhou’s geographic and historical environment, economic support from the salt merchants, preparations for Emperor Qianlong’s southern tours, maintenance of opera troupes, construction of performance parks, etc. Next, the chapter discusses the participation of literati, salt merchants, and officials in charge of regulating the salt industry in the opera scene. Finally, the chapter discusses the origins of Yangzhou qingqu, Yangzhou singer-courtesans, and Yangzhou opera, as well as the prevalent musical styles in Yangzhou and the venues for opera performance in Yangzhou during the Qing Dynasty.
Chapters Three and Four are organized chronologically and divide the Qing Dynasty into three historical periods: the Shunzhi-Kangxi-Yongzheng period, the Qianlong-Jiaqing period, and the post-Daoguang (Daoguang-Xianfeng-Tongzhi-Guangxu-Xuantong) period. These two chapters explore the performances of “Yabu”and “Huabu” , and catalog the performing troupes, actors, and repertoire.
Chapter Five discusses the creation of new operas in Yangzhou in the Qing Dynasty and also divides the Qing Dynasty into three historical periods: the Shunzhi-Kangxi-Yongzheng period, the Qianlong-Jiaqing period, and the post-Daoguang (Daoguang-Xianfeng-Tongzhi-Guangxu-Xuantong) period. It introduces the work of native Yangzhou playwrights as well as transplants, and gives an overview of the subjects of their plays.
Chapter Six studies opera criticism by experts of Yangzhou opera in the Qing Dynasty. The most representative of these works are Li Dou’s《Yangzhou Huafang lu》and Jiao Xun’s《Huabu nongtan》. This chapter focuses on these two works and explores their views on opera and their value to opera.
Chapter Seven explores the evolution of Yangzhou opera in the Qing Dynasty, including the prohibition on the maintenance of private troupes by officials, the rise of Yangzhou salt merchants’ private troupes, investigations ordered by the emperor, alterations to the operas, Wei Changsheng’s ascent and the prohibition of the Qin style, Jiang Chun’s Chuntai troupe and the rise of huabu opera, and the rise of Yangzhou Hui troupes and their development.
The conclusion in the Chapter Eight discusses the questions that arose in the course of researching for this paper, presents my own views, and summarizes the results of the study. |
