【作者】 王斌；

【导师】 俞为民；

【作者基本信息】 南京大学 ， 戏剧戏曲学（专业学位）， 2013， 博士

【摘要】 戏剧禁毁是我国古代常见的对戏剧生态、戏剧发展进度甚至发展走向造成显著影响的重要因素之一。当戏剧在审美情趣、价值观念等方面与官方所秉持的儒家正统思想相悖时,官方往往会出台各类政令、法规,加强对戏剧演出形式和场所、演员人身自由、剧本创作、观众接受、戏剧舆论等方面的监督、约束,甚至会以禁毁戏剧文本、废止演出活动等形式来阻止戏剧传播,从而构成了统称为禁戏政策的文化专制政策。明代中央统治集团自明太祖时期起即采取文化守成态势,树立程朱理学为官方正统意识形态,并对在民间有着巨大影响的戏剧采取禁毁、限制的手段,禁戏政策贯穿明朝始终,在其影响下,明代还出现了以地方政府政令为主的地方政府禁戏行为,和以家训、乡约为主的民间私人禁戏行为。明前期的高压禁戏使宫廷演剧活动明显受到约束、管控。明太祖洪武至明世宗嘉靖时期,宫廷演剧活动在官方崇奉“古乐”、“正声”,抑制“俗乐”、“今乐”的文化认知中,在多位帝王治下受到不同程度压制；明代中后期,帝王多以观剧为日常娱乐,“古乐”、“正声”之论的影响力逐渐让位于对演剧听曲等“今乐”、“俗乐”娱乐性功用的认可,明代的宫廷演剧在隆庆、万历时期开始进入了快速发展阶段。此外,在禁戏政策与宫廷礼乐体系共同作用、影响下,在明廷音乐体系中戏曲作为俗乐、今乐,至明初起即被置于作为宫廷主流音乐形态雅乐的对立面,在演出场合、职能属性、音乐地位等多方面长期受到限制、压制,其音乐元素也始终难以进入明廷雅乐系统、与雅乐相融合。因此出现了明廷演剧活动虽然呈现繁荣态势,但终明一世,无法出现戏曲“变雅”的情况。明代前期即已有一些士大夫家乐的活动,但受到禁戏政策压制以及士大夫舆论的制约,其表演活动并没有受到一般士人的重视、其艺术价值也没有受到充分认同。在明代禁戏政策中有对致仕士大夫家乐活动不受法律限制的规定,这为明前期家乐活动的传播提供了一定的便利条件。在明朝中期以降,以致仕官员为主要群体的士大夫家乐演出兴盛,成为明朝演剧活动的一大特色；与之同时,明中后期一些保守的士人舆论也一直以来对家班活动有所批评,成为禁戏政策在道德层面上的投射。民间演剧活动在明代受到来自中央和地方的禁戏政令合力约管。其中,明朝中央禁戏政令对民间演剧的具体行为、形态层面的制约较少,其多偏重于以身份歧视和解除限制来施行对伶人乐工与其他社会群体之间的阻隔,这使民间演剧具体行为活动受到的阻滞相对较少,在客观上有利于民间演剧的繁荣。而随着民间演剧的趋炽,各级地方行政机构又多增补、重申已有禁戏条令,加强约管力度,对民间演剧的具体形态、演剧生态都造成了一定损伤。此外,还对赛社演剧、乐妓演剧活动造成了相当影响：禁戏政令的颁行,特别是“淫祀”的界定与禁止、地方官员对“淫祠”的禁毁,使赛社演剧不仅含带民间俗文化行为的属性,还上升成为受制于国家约管和一定范围内受到允许和鼓励的政府活动,禁戏政令在其中起到了既带来压制又予以扶持的两面性作用；乐妓演剧则在禁戏政令的长期作用下,逐渐疏离元代乐妓扮旦演剧为常事的传统,清唱时曲往往在明代乐妓间更为多见,在南京地区甚至于晚明时期出现了乐妓以登场演剧为耻的现象,这反映了禁戏政令的长期执行,对民间演剧活动所带来的冲击之甚。受禁戏政策所带来的轻视曲体文学的影响,明代前期知名文人从事戏剧创作者大为减少,其作品也多以宫廷庆典应制、神仙道化、教化讽喻为主,作品质量和数量较元朝而大为萎缩；明代中后期文人大量参与戏剧创作,而“戏祸”现象在明代中后期的多次出现,则表明思想层面的禁戏束缚仍在无形中起到压制作用。禁戏政策的推行,使明代文人群体一方面在明代初期即形成了耻于留心词曲的心态,并直接导致了明代前期相当长时间内的文人创作沉寂局面；另一方面也使明代中后期文人群体在戏曲创作、文人曲学大盛的背景下,仍对文化保守倾向较为浓郁的教化意识、“正音”意识有所秉持,在接受活动中不时反映出其深入人心的影响。在这一过程中,明代文人对戏剧的认知也经历了一个由明代前期视之为“小道”,排斥于诗文为代表的文人“正统”文学活动之外,不屑于参与曲体文学创作,经由明代中叶康海、王九思等人将之视为言志载体、在娱乐功用外突出其诗美功能,同期王阳明宣扬戏剧有益于风化,及至明代后期诸多曲家纷纷肯定曲体文学带有“诗言志”之功的流变轨迹,其文学地位逐步上升,更多的含带“诗言志”、“歌咏言”文学职能的雅文化性质,而与其本出民间的固有俗文化属性产生了一定差异。与戏剧创作发展相对应的是,明代的戏剧理论在前期先以符合“正统思想”规范的“教化论”主导戏剧创作,造成了对明传奇艺术质量的损伤,后以“本色”——“当行”之论,以及“言情说”对之进行自觉反拨,三种理论相互有所侧重,并在论争中逐步向共容于古典戏剧创作之中的方向发展。总体来看,明代禁戏政策经历了一个“前紧后松”的发展历程：在明前期厉行禁戏的状态下,禁戏政策通过行政手段、思想控制等方式,在不同层面上对戏剧各要素施以具体影响,或使单一要素的发展路径陷入阻滞、或使不同要素间的联系出现阻隔,从而影响了在各构成要素聚合发展条件之下、戏剧所应具有的自然走向,使明代戏剧在发展历程中,出现了一些与禁戏政策密切相关的现象。而在明代中后期,在社会经济、文化以及戏剧艺术自身发展规律等多个因素的合力作用下,禁戏政策和禁戏行为对戏剧各构成要素的管控能力和阻滞性影响,都呈现出一定的下降趋势。这一时期禁戏政策的松动,对戏剧的发展而言,有助于相对宽松的戏剧传播与接受环境的形成。在一个相对宽松的环境下,家班兴盛,民间演剧繁荣,士人阶层与乐妓,优人的接触日益频繁,文人群体更广泛地参与到戏剧的撰、演中来,明代戏剧也取得了南戏文人化等重要成就。更多还原

【Abstract】 The forbidden drama is one of the important factors which influence the ecology development and even the future direction of the drama. The government often puts forward various kinds of policies or rules to enhance the authority on the drama, theatre, the freedom of the actors or actress, the creation of the drama, and the audience reception. Furthermore, the government even to destroy the draft of the drama or to forbid the drama activities in order to prevent the transmission of the drama when it conflicts with the Confucius ideas of the government on aesthetic taste or values. All of the rules constitute the cultural autocracy policy on forbidden drama.Since the beginning of Ming Dynasty, the central government adopted the policy of cultural conservatism in order to establish the orthodox neo-Confucianism as the official ideology, and took the measures to forbid and limit the drama which has huge influence in the population. The drama forbidden policy had been carried out throughout the Ming dynasty. Under the influence, there were also appeared the local government decree based local government ban on drama, and some private acts of drama forbidden which appeared by the family motto or rural folk in the Ming Dynasty.In the early period of Ming dynasty, the drama activities were prohibited under constant restraint and repression. In this period, drama activities have been repeatedly suppressed in the ancient imperial palace with the culture cognition of worshipping ancient music as well as suppression "folk music". In the middle and late period of Ming Dynasty, Emperor usually took watching drama as one of daily entertainments. In this situation, the influence of "ancient music" theory gradually gave way to entertainment function of "modern music","folk music". The court theatre began to enter the stage of rapid development in Long Qing, Wan Li period. In addition, since the beginning of Ming dynasty, with the influence of drama forbidden policy and court ritual system, drama which treated as folk music was placed as the opposition of Ya music--the main stream music form of court. Therefore, it was restricted and repressed in many aspects such as performing occasions, music positions and so on. Thus, the music elements of drama were difficult to integrate with Ya music. All these factors lead the drama can not change into "Ya" music throughout the Ming dynasty despite the its prosperous in performance field.There have been some performances of family troupes in the early Ming period. But with the repression of drama forbidden policy and constraints of public opinion of intellectual, these performances were not taken seriously by the intellectual and the artistic value also has not been fully recognized. In the drama forbidden policy, there were no legal restrictions to family troupes which provide convenient conditions for the spread of its performances. Since the mid-Ming dynasty, the performances of family troupes came into prosperity being a major feature of drama activities in Ming dynasty. At the same time, some conservative intellectual in the late Ming criticized the performances of family troupes which can be seen to some extent as projection on the moral level of drama forbidden policy.Folk drama activities in the Ming Dynasty were restricted by the central and local theater ban decree force. The Ming court in the central theater ban decree the specific behavior of the folk drama, and put more emphasis on identity discrimination and the lifting of the restrictions to block the actors and other social groups. Such measures lead to the prosperity of the folk drama objectively as fewer blocks on performances of folk drama. With the prosperity of folk drama, all levels of local administrative put forward more regulations and restrictions on them leading to some damages on the specific forms and ecology of folk drama.In addition, these policies also influenced the race community theater and the Kabuki drama activities. The drama forbidden policy especially the definition of "Sacrifice" prohibited local officials destroyed, so that the race social drama contains not only with the attributes of the folk customs and cultural behavior, rose to become subject to the country about tube and within a certain range by the government to allow and encourage activities. This policy plays the two sides with positive and negative effects on drama in Ming Dynasty. At one side, music prostitutes drama, in the long-term effects of drama forbidden policy, alienated the drama performance of Yuan Dynasty. A cappella became more common which reflects the long-term implementation of drama forbidden policy, even the impact of the folk drama activities.Influenced by the policy of the Ming Dynasty banned the contempt brought by the music, including opera, the number of literati in the Ming Dynasty engaged in drama was greatly reduced thus the quality and quantity of works were relatively poor compared with Yuan Dynasty. In the late Ming Dynasty, more literati engaged in drama followed by more inquisitions indicated the repression of drama forbidden policy on ideological level.The implementation of drama forbidden policy led to relative long period of inactive state of drama creation as well as the mentality of feeling shameful in drama in the circle of intellectuals. On the other hand, the intellectuals still held on some conservative thoughts in the late Ming Dynasty.In this process, the drama of the Ming Dynasty was gradually to prosperity-from "xiao dao" in the early period to be part of Orthodox literature in late Ming Dynasty.Corresponded with drama development, the drama theory of Ming Dynasty also experienced from orthodoxy in early Ming period to "ben se","dang hang" theory with the "expressing emotions theory" on the backwash consciously. These three theories mutually are emphasized, and gradually developed to the classical drama in the debate. To sum up, the drama forbidden policy developed from control to relatively loose in the whole Ming dynasty. In the early period, this policy did lots of harm to the drama development. It affected the factors of drama system through administrative means and thoughts control and so on. By leading some factors fell into a development bottleneck, or cutting off the links of different factors, it influenced the develop path of drama in Ming dynasty, some phenomena linked closely to the drama forbidden policy occurred in the drama development process of Ming dynasty.While in the mid and late period of Ming dynasty, influenced by the integrated factors of social economy, culture and drama itself, the drama forbidden policy and activities had gradually lost the control to the drama. In this period, the loose of drama forbidden policy was helpful to the development of drama. With the relatively relaxed environment, the family troupe was prosperous as well as the folk drama. At the same time, with frequent contacts with drama players, the intellectuals engaged in the writing and playing of drama which promoted the development of drama in Ming dynasty.更多还原