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梧槽湛
5 years ago
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33 A New Look at the Bangzi Qiang TSENG Yong-yih In addition to discussing the meaning of the term bangzi qiang (Qin qiang ), this paper also shows that its origin is not, as is commonly assumed, the Shaanxi bangzi, but rather the Western Qin qiang ( ). Based on this finding, the transmission of the bangzi qiang is also traced. This paper draws the following conclusions. First, the Shaanxi-Gansu region, being under control of the Qin during the Warring States period, developed local Qin sheng, orqinqiang based on local dialect pronunciations, as early as the pre-qin period. Second, Qin qiang, as used to indicate a region, had found its way to the Jiangnan area prior to the middle or the end of the Ming dynasty. Originally, it was sung in the Western diao using zaqu or xiaodiao, from which it developed into the qupai ti. At this point, it also absorbed material from local performances of cihua or luogu zaxi to develop as a banqiang ti. By the end of the Qianlong emperor s reign, the Qin qiang had merged with the kun i. Third, Taiwan s luantan, the gulu xi, originates from the Western Qin opera and makes use of the Western Qin qiang. Fourth, the bangzi qiang used in Taiwan s luantan xi is in fact the original form of the Qin chuiqiang (before the introduction of the bangzi). The fact that the bangzi was a later addition to the Qin chuiqiang can be proven by looking at the chuiqiang yuanban in Anhui and the chuiqiang zhengban of the Hui opera. Fifth, during the reigns of the Qianlong and Jiaqing emperors, the Qin qiang on the one hand further developed the shizan already in use, while on the other developed the now characteristic three-five-seven character format. Sixth, the remarkable vitality of the Qin qiang saw it spreading to all of China s eighteen administrative units and Taiwan, making it the mother of all local opera in modern China. Seventh, the Qin qiang is found appearing in opera by itself and with other qiang in various different forms. Keywords: Bangzi qiang Qin qiang Western Qin qiang Western diao chuiqiang qiangdiao -175-

34 ISBN

戲劇研究第二期 9 0 周育德金水中國戲史略鄧濤劉立文中國古代戲劇文學史張庚 9-003 郭漢城中國戲曲通史廖奔劉彥君中國戲曲發展 12 史等都或簡或繁地把它當作論題就中後兩部著墨較多自然也較富於參考價值而盧前之書成書較早已將花雅爭衡分為三期始於秦腔繼以徽調

戲劇研究第二期 9 0 周育德金水中國戲史略鄧濤劉立文中國古代戲劇文學史張庚 9-003 郭漢城中國戲曲通史廖奔劉彥君中國戲曲發展 12 史等都或簡或繁地把它當作論題就中後兩部著墨較多自然也較富於參考價值而盧前之書成書較早已將花雅爭衡分為三期始於秦腔繼以徽調戲劇研究 008 年 7 月第期頁 48 論說戲曲雅俗之推移上從明嘉靖至清乾隆曾永義世新大學講座教授中國戲曲史上有所謂花雅爭衡或作花雅之爭這是一件大事因為論時間在百年之上論結果則使得劇壇盟主由雄霸元明兩代的詞曲系曲牌體戲曲劇種轉而為詩讚系板腔體戲曲劇種同時也使得腔調劇種由明代之單腔調劇種轉為多腔調劇種其劇場之主宰者也由元明兩代之劇作家劇場轉為演員中心