編輯推薦

　　本書既有對中國戲麯發展概況、藝術特點的綜閤描述，也有對戲麯的不同行當、類型、代錶作品的專門介紹，對於讀者瞭解中國戲麯、瞭解中國文化，是一本很好的指導介紹性讀物。

The book includes both overviews on the development and artistic features of the Chinese operas and specialized introduction to the roles, types and representative works of the operas. It is a good guide book for readers to understand the Chinese operas and culture.

內容簡介

　　“中國文化經典導讀”係列分領域介紹中華文化（文學、曆史、藝術、教育等）的經典作品及其內涵，為外國讀者瞭解中國文化提供既實用的指南，以有效地促進外國讀者對中國文化的瞭解。

　中國古典戲麯與古希臘戲劇、印度梵劇並稱為“世界三大古老戲劇”，並在長達800年以上的時間裏，始終保持著自己的基本形態。本書在簡要概述中國戲麯發展曆程和主要特點的基礎上，重點選取有代錶性的戲麯作品，從文學、錶演等不同角度加以分析。國外讀者可以由此明白如何更好地欣賞中國古典戲麯。

The classical Chinese opera, the ancient Greek play and the Indian Sanskrit drama are known as the “three greatest ancient theatres in the world”. For more than 800 years, the classical Chinese operas have been developing with their fundamental forms retained. Based on a brief introduction to the development and main characteristics of the Chinese operas, the book provides analysis on a number of representative opera works from different perspectives, such as literature and performance. For foreign readers, it is a good work for learning about how to enjoy the Chinese operas in a better way.

作者簡介

　　《文史知識》編輯部，《文史知識》雜誌自創刊以來，一直堅持大專傢寫小文章，堅持深入淺齣地介紹和評述中國優秀傳統文化，受到學術界的廣泛好評。其作者薈萃全國一流文史專傢，內容涵蓋中國傳統文化各個方麵，文章知識性、趣味性、學術性兼備，深入淺齣，雅俗共賞。

Editorial Board of Chinese Literature and History: Since the first issue of the Chinese Literature and History magazine, the Editorial Department has been embracing the principle to invite highly proficient experts to write easy-to-understand articles to introduce and review the excellent traditional Chinese culture in simple language. Therefore, the magazine has won wide acclaim in the academic circle. It has attracted a great number of Chinese authors, who are top experts in literature and history. Its content covers all aspects of traditional Chinese culture. Its articles are highly informative, interesting and academically outstanding. The adoption of the way to explain the profound in simple terms make the articles suit both refined and popular tastes.

內頁插圖

目錄

Types of Roles in Operas
“Seven Hang and Seven Ke”
Talks about Youling
Relationship between Actresses and Prosperity of Opera in the Yuan Dynasty
Talks about “Good” Opera Performers
Sichuan Opera
The Battle between Kunqu Opera VS. Local Opera and Conception beyond Image
“Raotou Opera”
Discussions about TiaoLingGuan
Facial Makeup
On Cultural Relics of Traditional Operas and Their Research Value
Pujiu Temple: The place for True Love
Types of Roles in Operas
“Seven Hang and Seven Ke”
Talks about Youling
Relationship between Actresses and Prosperity of Opera in the Yuan Dynasty
Talks about “Good” Opera Performers
Sichuan Opera
The Battle between Kunqu Opera VS. Local Opera and Conception beyond Image
“Raotou Opera”
Discussions about TiaoLingGuan
Facial Makeup
On Cultural Relics of Traditional Operas and Their Research Value
Pujiu Temple: The place for True Love

精彩書摘

　　The Battle between Kunqu Opera VS. Local Opera and Conception beyond Image
　　Zhang Fuzhi
　　The battle between Kunquo pera and local operas
　　During the reign of Emperor Qianlong, the emperor would pass Yangzhou on each southern inspection tour. Some of the local tycoons invested a lot of training theatrical troupes to please the emperor, so there were dozens of stages set up on both sides of the Grand Canal as Emperor Qianlong’s dragon boat went by. Both designed troupes for Kunqu Opera and local operas could been found on the stages. Since its elegant lyric and melody, Kunqu was called “Yabu (Ya means elegance in Chinese)” and also regarded as orthodox; while the variegated and miscellaneous local operas were collectively called “Huabu (Hua has the meaning of ‘miscellaneous’ in Chinese)”. There was a local opera in Yangzhou named “Luantan” (literal meaning is ‘random’ in Chinese, now it refers to general term for Chinese opera melodies) which regarded as the antonomasia of “Huabu”, so the saying “Huabu Luantan” emerged. Using “Luantan” referring to “Hua” had already been an implied derogatory saying, however, the battle between Kunqu opera and local operas was much more acrimonious. Not only in Yangzhou, in many major cities especially in Beijing, this battle was always very fierce, which constitutes the famous “battle between Kunqu opera and local operas” in the history of opera.
　　Jingqiang was the first to contest with Kunqu opera in the capital. Jingqiang was a new type of opera after Yiyangqiang introduced to Beijing which singing in the northern dialect. Because of its high-pitched and resounding singing tune, Jingqiang was also known as “Gaoqiang (means high-pitched tune in Chinese)”. After Emperor Qianlong, Jingqiang show once formed the prosperous situation of “the famous six troupes performing back and forth among nine stages”, forcing Kunqu have to hide itself. However, after entering the palace and co-staring with Kunqu, Jingqiang was more and more normative and gradually lost its features of rough and simple while in the folk, thus its vitality was getting weaker by the day.
　　Next, Shaanxi Opera took the field. In the 44th year of reign of Emperor Qianlong (1779), a famous dan (the female character type in opera) actor of Shaanxi Opera named Wei Changsheng performed in Beijing with the work of “Gunlou” which created a great sensation in the capital, then Shaanxi Opera flourished. It gave a huge threat to Kunqu who dwarfed other operas as “orthodox”. There scared the bigwig who boasted themselves with “elegance” and the Qing government even banned Shaanxi Opera’s performance in Beijing in the name of “correcting custom and avoiding obscenity” and forced Wei Changsheng to leave Beijing as well.
　　However, the high-handed policy did not suppress the rise of local operas who had tenacious vitality. Finally in the 55th year of reign of Emperor Qianlong (1790) when it was Emperor Qianlong’s 80th birthday, Sanqing Anhui opera troupe came to Beijing to celebrate the birthday with their performances, which made Huabu take root in Beijing. Although in the third and fourth years of Emperor Jiaqing’s reign (1798 and 1799), they banned Huabu opera outside of Kunqu and Yiyangqiang twice, the flourish momentum of Huabu was irreversible. During the reign of Emperor Daoguang and Emperor Xianfeng (1821-1861), Anhui opera troupes absorbed a large number of artists in the field of Handiao Opera and Shaanxi Opera, thus greatly enriched the repertoire and performance methods and its performance was more loved by a broad audience. With the confluence of Anhui opera, Handiao opera and Shaanxi Opera, the new generation of opera — Peking Opera was born.
　　……

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