穆凡中 澳门剧协
Mu, Fanzhong, Macau Federation of Drama Societies
原文Original
昆曲·徽剧·京剧
从剧目、表演方法、声腔曲调几个方面去研究昆曲对徽剧、对徽剧到京剧艺术体系的演进、形成、完善、发展的影响，或许会更接近“汉学与中国传统戏剧表演体系研究”和“中国戏曲的传承方式”这个题目。
与汉剧、秦腔比，昆曲对徽剧、京剧的形成、发展、完善、影响更深，时间更长；从明万历年间昆曲传到徽州，到徽班进京200年间徽调已形成“诸腔杂陈、花雅并存”的声腔格局。这使徽班在“圣驾南巡”、“万寿庆典”、“进京祝寿”等皇家重大庆典活动中占尽优势。
从万历昆曲传到徽州，到清道光“昆曲顿衰”300年间，昆曲在剧目、声腔、音乐、表演……对徽剧都产生着巨大的影响，已发现的1500种徽剧、800多剧本中，大部分是传统老戏，昆曲比重尤大……。
京剧，跟徽剧情况很相像，可能情况更杂些。因为它除了原封不动地保留了百种以上昆剧剧目外，更有许多由昆曲、传奇“翻”过来的剧目，除丰富了剧目外，昆曲的表演程序、技巧、扮相、脸谱、服饰、砌末……也都被京剧“一塌刮子”“拿”过来了。
京剧史家们认为1790~1840年是京剧形成期；1840~1917年为京剧成熟期。前后121年间京剧由粗糙简陋到形成自己的艺术体系，这与前“三鼎甲”——程长庚、余三胜、张二奎；后“三鼎甲”——谭鑫培、孙菊仙、汪桂芬以及前后期的“艺术上都具有创新特色的名伶群体”的努力分不开,也包括他们之后的“三大贤”——杨小楼、余叔岩、梅兰芳。
这些前辈京剧艺术家们，有一个共同特点：都与昆曲有很深的渊源。
译文Translation
Kun Melodies, Anhui Opera, Beijing Opera
Seen from the repertoire, performance methods, and melodies, one can explore the influence of Kun melodies on Anhui Opera and the influence on the progress, formation, perfection and development from Anhui operas to the art system of the Beijing opera. A topic like “A Research on Sinology and the System of Performance of Traditional Chinese Operas” and “The Way of the Transmission of Chinese Operas” would perhaps be more adequate.
Compared to Han operas and Qin melodies, the Kun melodies have had a deeper and longer influence upon the formation, development and perfection of the Anhui opera and Beijing opera. From the time of the Wanli period of the Ming dynasty, the Kun melodies spread to Huizhou, and during the 200 years when the Anhui opera entered Beijing, the melodies had already developed into a more pluriform way of expression. This pluriformity gave a special advantage for the Anhui opera as it was performed at such important imperial celebrations as the “emperor traveling south” or “old age celebrations” or “congratulation for entering the capital” etc.
During the 300 years from the Wanli period when the Kun melodies came to Anhui until the “sudden decline of the Kun melodies” during the period of the Daoguang emperor, the Kun melodies exerted a huge influence on the Anhui opera in terms of repertoire, singing tones, music, performance, etc. Among the 1500 different Anhui operas and 800 plays that have been discovered, most of them are traditional operas, and the Kun melodies are in the majority.
The situation of the Beijing opera was similar to that of the Anhui opera, perhaps it was even more complicated, because on the one hand it preserved more than 100 Kun opera repertoires, but on the other hand there are even more opera repertoires which have been “translated” from Kun melodies and legends. Thus the Kun melodies enriched the repertoire, but the performance order, skills, cosmetics, types of facial make-up, dress, background decoration…of the Kun tradition, all these things were “wholesale” taken over by the Beijing opera.
The historians of the Beijing opera think that the period from 1790 to 1840 is the time of the formation of the Beijing opera, and the time from 1840 to 1917 was the period of maturation. Within 121 years the Beijing opera developed its own system of art from a coarse and ugly form, and this process is linked to the former “three ding jia”, namely Cheng Changgeng, Yu Sansheng, Zhang Ergui, and to the later “three ding jia”, namely Tan Xinpei, Sun Juxian, Wang Guifen, and also to the efforts of the “groups of performers who were innovative in their art”, it also is linked to the “three great performers” of the later period: Yang Xiaolou, Yu Shuyan, Mei Lanfang.
These Beijing opera experts have one thing in common: they have a deep relationship with the Kun melodies.