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川昆为川剧五种声腔之一。它是江苏昆山的昆曲传入四川后,为川剧兼收并蓄入自己的剧种体系而形成的。明嘉靖八年(1529),外省“有游食乐工乘骑者七人至绵州(今四川绵阳)”演出,“歌喉宛转,腔调琅然,咸称有遏云之态”(明·张谊《宦游纪闻》)。魏良辅曾说“南曲以宛转为主”(《曲律》),可见他们唱的腔调,很可能就是昆曲。如果将此作为昆曲的第一次入川,距今已有458年。当然,任何一种戏曲声腔的形成,都不可能毕其功于一役。从纵向看,苏昆自明代开始入川后,中经清代、民国,甚至直到今天,都还在源源不断的流入。从横向看,苏昆的流入和川昆的形成,更是多渠道,多基因的。本文准备对形成川昆的诸种因素及川昆究竟有多少剧目的问题略作探索。
Sichuan and Kun Opera is one of five kinds of acoustic cavity. It was formed after the introduction of Kunqu Opera in Kunshan, Jiangsu, into Sichuan Province for its integration into the drama system. Ming Jiajing eight years (1529), the other provinces “have pleasure workers seven riders to Mianzhou (now Mianyang, Sichuan Province)”, “voice of the voice of a voice, calm tone, salty called deterrent” (Ming · Zhang Yi “Official Travel Ji Wen”). Wei Liangfu once said that “the southern song is mainly based on Wan” (“melody”), showing that they sing the accent, it is likely to be the Kunqu opera. If this is the first Kunqu song into Sichuan, dating back to 458 years. Of course, the formation of any kind of opera voice, can not be completed in battle. From a vertical perspective, since the beginning of Ming Dynasty, Sukonnang has continued to flow into the Qing Dynasty, the Republic of China and even today. From a horizontal perspective, the influx of Sukun and the formation of Sichuan-Kunming are more multi-channel and multi-generous. This article is intended to make a brief exploration of the various factors that have shaped the formation of Sichuan and Kunming and the number of plays that Sichuan and Kunming actually have.