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清代道光朝以后,京剧逐渐脱胎于徽汉二调,形成独立的剧种。同光之间,京剧艺术达到其发展史上第一个高峰,从此,在中国戏曲舞台上独领风骚,雄踞国剧首席一百多年。但是,京剧真正为戏曲史家、戏曲理论家所普遍关注,作为一个专门艺术门类而记录、总结与研究,则是在清王朝覆灭之后。关于京剧在清季的演出情况,除去宫廷戏曲演出机构昇平署现存档案等官方文献,民间演出的记录,则只有现在所能见到的几本《都门纪略》及散见于文人笔记小品中的不经意的零散记载。由于晚清京剧史料的匮乏,这些散见的文字,也便如吉光片羽,为后来
After the Daoguang Dynasty in the Qing Dynasty, Peking Opera gradually emerged from the second emblem of the emperor of Anhui and formed an independent drama. With the light, Peking Opera art to achieve its first peak in the history of development, since then, in the Chinese opera stage to dominate, top national drama over a hundred years. However, Peking Opera is generally concerned by opera historians and opera theorists, and is recorded, summarized and studied as a specialized art category after the fall of the Qing dynasty. As for the performance of Peking Opera in the Qing Dynasty and the removal of official documents and archives of the existing archives of the Palace Opera Performance Agency and the Civil Service, only the few “memorials” Inadvertently scattered records. Due to the scarcity of historical materials in the late Qing dynasty, these scattered literary characters,