论文部分内容阅读
“末脚”是戏曲行当体系中最特殊的部分。前人的“末脚”研究多集中于其起源,但因材料匮乏而聚讼纷纭,而且甚少注意到清末以来“末脚”在京昆等主流剧种中绝迹这一现象。本文从“末脚”的衰微入手,从戏班与剧本两个层面考察其主要职能:戏班中的领导者,剧本中的指挥者。“末脚”衰微的实质是其“领导权”的丧失。本文运用中国艺术“模块化”和“规模化”生产的理论,揭示高度分工的脚色体制是“末脚”领导职能生成的深层原因,并认为这导致南戏中“末”的名目(象征戏班领导权)从主演(杂剧中的末泥)过渡到了调度者(杂剧中的引戏)身上。文人传奇将其化为“代曲家立言”的特殊脚色,使剧本中的“末脚”与戏班中的“副末”分离,后者取代前者成为领班脚色。
“The Last Feet ” is the most special part of the opera line system. The predecessors’ research on the “Last Feet” mostly focuses on their origins, but due to the lack of materials, they have different opinions and they have seldom noticed that the phenomenon of extinction in the mainstream operas such as Jingkun since the end of the Qing Dynasty. This article starts with the declination of “end foot ” and examines its main functions from drama stage and script level: the leader in the troupe and the commander in the script. The essence of declining is the loss of its “leadership.” This article uses the theory of Chinese art “Modularization ” and “Scale ” production to reveal that the highly segmented role system is the deep reason for the formation of the leadership function of “(A symbol of theater leadership) from the protagonist (the end of mud in the drama) transition to the dispatcher (drama). The scholar’s legend turns it into the special character of ”songwriter Lizhi“, separating the ”foot-end “ in the script from the ”vice " in the troupe, which replaces the former as the foreman’s footsteps.