本文選題：宮廷史 + 宮廷戲曲��； 參考：《故宮博物院院刊》2017年06期

【摘要】：宋金雜劇的流行以及城市中瓦舍勾欄的存在為中國戲曲的成熟提供了必要條件。元雜劇的誕生標(biāo)志著一種獨(dú)立的綜合藝術(shù)門類站上了歷史舞臺。與此同時,以訓(xùn)練水軍為初衷的宮廷水上演出活動也更具儀式性,更為繁復(fù)與斑斕。戲曲只出現(xiàn)在明代之后的水上演出活動中。而承載宮廷水上演樂的演出空間,多為水邊戲臺與舟船,具有獨(dú)特的觀演關(guān)系。清代的宮廷水上戲臺,一直留存至今,對民間演劇演出形式影響深遠(yuǎn)。也為今天宮廷史、戲曲史、劇場史的研究提供了豐富鮮活的文獻(xiàn)、文物資料。
[Abstract]:The popularity of Song and Jin Dynasty dramas and the existence of Washer Goulan in the city provided the necessary conditions for the maturity of Chinese opera. The birth of Yuan Zaju marks an independent comprehensive art category on the stage of history. At the same time, the original intention of water training court water performance is more ritualistic, more complex and colorful. Opera only appeared in water performances after the Ming Dynasty. The performance space for performing music in court water is mostly waterside stage and boat, which has a unique relationship between watching and performing. The court water stage of the Qing Dynasty, which has been retained until now, has a profound influence on the performance form of folk dramas. It also provides rich living documents and cultural relics for the study of court history, opera history and theater history.
【作者單位】： 北京外國語大學(xué)藝術(shù)研究院;
【基金】：第59批中國博士后科學(xué)基金二等面上資助項(xiàng)目:《中國歷代宮廷水上演出藝術(shù)史》階段性成果,資助編號:2016M591130
【分類號】：I206.2;K23
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本文編號：1879167