【作者】 王意贺；

【导师】 高志忠；

【作者基本信息】 深圳大学 ， 中国语言文学， 2023， 硕士

【摘要】 慈禧太后作为同光年间的实际统治者,也是晚清宫廷演剧的重要观众之一,为满足自己的观戏需求,她积极引导宫廷戏曲进行变革,在其推动之下,逐渐衰落的晚清宫廷演剧重新走向兴盛,达到了乾隆朝之后内廷演剧的又一高峰。同时,民间戏曲也在此时蓬勃发展,呈现出与动荡的政局完全相反的繁荣景象,这亦与慈禧太后有着密不可分的关系。本文以慈禧太后与宫廷戏曲的关系为研究对象,以慈禧太后对宫廷戏曲的变革为切入点,根据《昇平署档案》的记载,对同光年间共1908天,全部18025余出(次)剧目进行整理,结合王瑶卿《我的戏剧生活》等回忆录和《翁同龢日记》等日记史料,尽力还原慈禧太后的观戏活动。在此基础上,对慈禧太后进行宫廷演剧变革的原因、方式、影响进行研究与总结。慈禧太后对宫廷演剧的变革主要包括以下三点:一、在她的推崇下,以乱弹戏为代表的民间“花部”声腔登上宫廷舞台,超越“雅部”昆、弋二腔,成为宫廷演剧的主流;二、放宽对民籍伶人的管理尺度,民间顶尖伶人入宫承应成为常态,民间戏班登上宫廷舞台成为可能;三、弱化宫廷戏曲的礼乐功能,戏曲的本质属性——娱乐性得到进一步加强。这些变革让宫廷戏曲逐渐“民间化”,演出声腔得到丰富,戏目逐渐繁多,演出水平得到极大提高,与民间戏曲的交流愈发紧密,并焕发出无限的生命力,是为宫廷演剧第二个高峰。慈禧太后作为封建帝后主要通过两种方式对民间戏曲产生影响。首先,她的政治决策引发的社会变革影响着民间戏曲的发展环境;其次,她对戏曲的审美偏好被出入宫廷的民间伶人、“赏听戏”的王公大臣带出宫外,从而被民间观众所接受,引领“赏皮黄,捧名伶”的观戏风尚。慈禧太后利用自己特殊的身份自上而下地推崇京剧,为京剧的辉煌提供了强大的动力。更多还原

【Abstract】 Empress Dowager Cixi,as the actual ruler during the Tongguang period and one of the important audiences of late Qing court drama,actively guided the transformation of court drama to meet her viewing needs.Under her promotion,the gradually declining late Qing court drama resumed its prosperity,reaching another peak of internal court drama after the Qianlong Dynasty.At the same time,folk opera also flourished at this time,presenting a prosperous scene completely opposite to the turbulent political situation,which is also closely related to Empress Dowager Cixi.This article takes the relationship between Empress Dowager Cixi and palace opera as the research object,and takes Empress Dowager Cixi’s transformation of palace opera as the starting point.Based on the records in the "Shengping Office Archives",it sorts out more than 18025 plays over a total of 1908 days during the Tongguang period.Combining with Wang Yaoqing’s memoirs such as "My Dramatic Life" and diary historical materials such as "Weng Tonghe Diary",it strives to restore Empress Dowager Cixi’s theatrical activities.On this basis,research and summarize the reasons,methods,and impacts of Empress Dowager Cixi’s transformation of palace drama.Empress Dowager Cixi’s transformation of palace theater mainly includes the following three points: firstly,under her admiration,the folk "Huabu" vocal style represented by Luantao opera emerged on the court stage,surpassing the "Yabu" Kun and Yi two tunes and becoming the mainstream of palace theater;2、 Relaxing the management standards for civilian actors,making it a norm for top folk actors to enter the palace,and making it possible for folk opera troupes to appear on the court stage;3、 The weakening of the ritual and musical functions of palace opera has further strengthened its essential attribute-entertainment.These changes have gradually "popularized" palace opera,enriched its vocal performance,diversified its repertoire,greatly improved its level of performance,and strengthened its communication with folk opera,radiating infinite vitality.This is the second peak of palace opera.Empress Dowager Cixi,as a feudal empress,mainly influenced folk opera in two ways.Firstly,the social changes triggered by her political decisions have influenced the development environment of folk opera;Secondly,her aesthetic preference for traditional Chinese opera was brought out of the palace by folk actors entering and leaving the palace,as well as by princes and ministers who "enjoyed and listened to the opera",thus being accepted by the folk audience and leading the trend of "appreciating the yellow skin and praising famous actors" for watching the opera.Empress Dowager Cixi used her special identity to promote Beijing Opera from top to bottom,providing a strong driving force for its glory.更多还原