也談「北劇」的名稱、淵源、形成和流播

曾永義

doi:10.6351/BICLP.199909.0001

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人文学 > 人文学综合
人文学 > 语言学
人文学 > 中国文学

DOI： 10.6351/BICLP

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也谈「北剧」的名称、渊源、形成和流播

A Discussion of the Names, Origin, Formation and Propagation of "Pei-chü"

曾永义(Yong-Yih Tseng)

中国文哲研究集刊； 15 期 (1999 / 09 / 01) ， P1 - 42

繁体中文 DOI： 10.6351/BICLP.199909.0001

院本；院爨；院么；么末；朗末；撇末；撇朗末；粧么麽；粧（妆、装）么（夭、腰、跷）；末；么；杂剧；北曲杂剧；北杂剧；北剧； Yuan-pen ； yuan-ts'uan ； yuan-yao ； yao-mo ； lang-mo ； p'ieh-mo ； p'ieh-lang-mo ； chuang-yao ； mo-yao ； tsa-chü ； pei-ch'ü tsa-chü ； pei tsa-chü ； pei-chü

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摘要 │ 参考文献 (16) │ 被引用文献 (7) │ 国际计量

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There are more than ten names for pei-ch'ü tsa-cü. The names ”yueh-fu,” ”ch'uan-ch'i,” ”pei-ch'ü,” and ”Yuan-ch'ü” were perhaps derived from ancient language, or perhaps referred to one characteristic of the drama among others; therefore, these names ceased to be used to refer to northern tsa-chü later. From the six other names, one can follow the trajectory of the development of pei-ch'ü tsa-chü: the ”yuan-pen” in ”pei yuan-pen” shows a concise example from its period as skits or incidental theater.”Yuan-yao” or ”yao-mo yuan-pen” shows it as it entered a transitional phase of major theater.”Yao-mo” shows it as it was named as a fully-realized form of major theater.”Tsa-chü” shows it as a fully realized major theater and also as the tradition which had taken over the position of Sung and Chin tsa-chü and had replaced it. Then ”pei-chü” shows it in its form of opposition to ”nan-hsi.”Pei-ch'ü tsa-chü originated in Chin yuan-pen; Chin yuan-pen in turn is not far removed from Sung tsa-chü. Because Sung tsa-chü entered the folk tradition, its actors were no longer from the palace; they became professional performing folk. This was the reason that the name was changed to ”yuan-pen.” Yuan-pen rapidly penetrated to the very life-energy of the people; it developed into a new form of drama taking its names from urban speech. There were two varieties, ”yuan-yao” or ”yao- mo.”With ”yuan-yao,” we see that the leading role of the second ching, as the clown and jester, is changed into the role of mo as the leading singer, in the arrangement of pei-ch'ü. However, judging from the way that Sung and Chin tsa-chü yuan-pen is set up as ” two parts under the same name,” pei-ch 'ü should have been presented in two parts, as two different stories which shared similar dramatic plots and themes. Other names for yuan-pen include ”yuan-ys'uan,” which is a kind of act performed by the professional actors. This included steps and odd facial expressions as features of the performance. Because there are greater changes in the make-up of yuan-mo, it gave rise to such differently named styles as ”yao-mo'” ” lang-mo,” ”'p'ieh-mo,” and ”p'ieh-lang-mo,” which were in fact all similar dramatic forms. Clearly, these forms all have the role of mo as their major performers. Moreover, they took the four independent parts which were known from the Sung and Chin yuan-pen, and combined them into a new form which merged the traditional story lines. Only, while performing these, they still kept each part separate, one segment after the other, and in between segments they inserted music, dance, or special acrobatic or other variety performances; in this way they maintained the style of keeping each part independent as they always were.The year when ”yacr-mo” was established should be 1214, when Chin moved its capital to Nan-ching (Pian-ching). Sung and Chin ”tsa-chü” changed its name to ”yuan-pen” and then ”yuan-yao.” These changes must have taken place somewhere near the present K'ai-feng, Lo-yang and Cheng-chou. For this reason, pei-ch'ü tsa-chii can really be called ”the voice of the chung-yuan (central plains area)” with justification. As far as the change from the name ”yao-mo,” which is urban speech, to ”tsa-chü” which is the form it replaced, this should have been after 1271, when Yuan Shih-tsu of the Yuan Dynasty changed the dynastic name to ”Yuan,” but before his sixteenth year (1276), when he destroyed the Sung.A skit tradition can juxtapose its sources in a concurrent display, but a great dramatic tradition can only have a single origin with many varying sub-traditions. 80 as the ”yao-mo” or ”tsa-chü” spread out of the chungyuan (central plains) area into other regions, it necessarily developed into different sub-traditions by adapting to different dialects and different language styles. They became various regional dialect sub-traditions. The original home of pei-ch'ü tsa-chü was Chung-chou (K'ai-feng, Lo-yang, and Cheng-chou in Ho-nan). Therefore, to sing traditional pei-ch 'ü, it is best to sing in the ancestral Chung-chou dialect. After pei-ch'ü became well-established as an urban-centered tradition, it was most effective to sing in the Hsiao chi-chou style, technique and rhythms. When it spread to Hu-pei, it took on the ”Huang-chou style” of theater. At the end of the Yuan and the beginning of the Ming, Pei-ch'ü music underwent a revolution and produced ”Hsien-suo style.” With the predominance of nan-ch'ü's K'un-shan shui-mo style, it was transferred to use in pei-ch'ü singing as well, and was called ”Southern style pei-ch'ü.” Moreover, in examining the distribution of the place of origin of various dramatic authors, we find that in the early Yuan they came from the north, but in the late Yuan they came from the south. From this we can see the regional character of the creation and propagation of pei-chü. Again, examining it from the perspective of archaeology, we see that four important regions in the florescence of pei-chü during the Yuan period were Ta-tu, Chen-ting, Tung-p'ing, and P'ing-yang areas.

参考文献 ( 16 ) 〈TOP〉

元曲选。
(1980)。东京梦华录外四种。
元王恽。秋涧集。
李修生(1998)。两岸古籍学术研讨会。
徐朔方(1993)。徐朔方集。

被引用文献 ( 7 ) 〈TOP〉

曾永义(2019)。「北曲杂剧之分期演进」新探。中国文哲研究集刊，54，1-35。
李惠绵(2021)。明清崑腔音韵度曲的发展脉络。戏曲学报，24，1-62。
吴佩熏(2021)。南宋戏禁文献辨析纠谬－以朱熹劝喻榜及陈淳「论淫祀淫戏」之上书对象为论述中心。戏剧研究，28，1-35。
(2000)。也谈戏曲的渊源、形成与发展。台大中文学报，12，365-420。
(2016)。论说“戏曲资料”之五种类型。岭南学报，6，3-35。

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