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여승환 한국중문학회 2011 中國文學硏究 Vol.45 No.-
唐代旣是表演藝術發展的時期, 也是戱劇俳優活動非常活躍的時期. 初唐宮廷俳優受到統治者的愛好和寵愛,他們的表演有時會比較猥褻, 肆無忌憚. 因此被視爲提供敗壞道德原因的集團. 其代表人物是太宗時期受寵於承乾的太常俳優稱心, 中宗時期表演合生戱的胡人出身俳優襪子·何懿等. 盛唐玄宗時期隨著敎坊的擴大, 敎坊俳優的活動更加活躍. 特別要關注的是女優的出現. 這之前都是男扮女裝, 演了女性的角色, 但到這時期女優在舞台上正式登場了. 表演<踏謠娘>的張四娘·<鉢頭>的容兒是其代表人物. 而且, 盛唐時期參軍戱俳優自由運用旣存演出的形式, 表演了帶有滑稽諷刺內容的戱劇. 出色的俳優有黃幡綽·張野狐·李仙鶴等, 尤其是被評爲唐代最優秀俳優的黃幡綽, 是通過表演諷刺世態, 試圖改變現實的有``託諷匡正``意識的俳優. 有關中唐戱劇俳優的記載흔少見, 但德宗時期的成輔端的活動흔受촉目. 他爲批判幷諷刺統治者的罪惡, 創作了戱語, 表演了<旱稅>劇. 他雖然只是一個俳優, 但他勇敢地站出來訴說了當時百姓的痛苦. 령外, 穆宗時期在浙東地區活動的周季南·周季崇·劉采春等人的記載有助於了解當時由家族成員組成的民間戱班的面貌以及相伴歌唱的參軍戱的表演情況. 晩唐俳優的活動是考察了在《樂府雜錄》<俳優>條記載的``弄假婦人``·``弄婆羅門``俳優, 幷且敍述了受寵於懿宗的李可及. 李可及不僅擅長樂曲·歌舞, 而且還擅長運用諷刺語言. 在演技方面, 他可以同黃幡綽一起被稱爲代表唐代的俳優. 只是<三敎論衡>不是批判現實的諷刺劇, 他作爲俳優沒有起到諷諫的作用. 這一點與黃幡綽·成輔端恰成對照. 由此可見, 唐代的戱劇俳優是中國戱劇史上的重要角色, 通過他們可以了解戱劇文化的眞實面貌. 他們通過在宮廷和民間的豊富多彩的演技活動, 引導了代表唐代戱劇的歌舞戱和參軍戱的盛行, 擔任了更加豊富唐代戱劇藝術的主角.
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만청(晩淸)시기 ‘천하제일명축(天下第一名丑)’ 류간삼(劉赶三)의 연기활동 고찰
여승환 한국중문학회 2019 中國文學硏究 Vol.0 No.77
본고는 晩淸 시기 京劇 무대에서 ‘天下第一名丑’으로 지칭되며 丑行 배우 가운데 최고의 자리를 차지한 劉赶三의 연기 활동을 고찰하였다. 劉赶三은 당시 관객들의 이목을 生旦行의 연기에서 丑行의 연기로 옮겨가게 한 장본인으로, 丑行 중에서도 ‘丑婆子 연기의 開山祖師’라는 칭호를 얻을 만큼 경극 丑婆子戱의 발전에 지대한 공헌을 한 배우였다. 하지만 그가 丑婆子戱 에서 보여준 뛰어난 재능과 연기력만으로 경극 무대의 丑行을 대표하는 배우로 평가 받는 것은 아니다. 그는 늦은 나이에 丑行의 직업 배우로 변신한 후 40여 년의 세월동안 다양한 연기와 활발한 戱班 활동을 펼쳤으며, 무엇보다도 무대 위에서 최고 권력의 부패와 횡포에 대해 침묵하지 않고 대담하게 풍자하면서 백성들의 원망을 대변한 용기 있는 배우였다. 따라서 본고에서는 그동안 국내에 자세히 소개되지 않았던 劉赶三의 무대 활동을 정리하고, 최고의 丑行 배우로 평가받는 그의 연기 특징을 재조명하였다. 本論文以‘同光名伶十三絶’中唯一的京劇丑行演員劉赶三(1817~1894)爲硏究對象, 考察他在晩淸時期的演出活動, 竝對他的表演特徵予以評述. 劉赶三爲京劇舞臺上第一代丑行演員的傑出代表. 道光年間, 他曾在天津群雅軒票房當餘業演員, 學習老生. 後來到北京春臺班, 改行當專習丑行, 成了一名專業京劇丑行演員. 當時北京戲班內老生行人才濟濟, 他又非科班出身, 特別是“個子矮, 面龐淸癯”, 難以出頭. 但他頭腦機敏, 善於隨機應變, 語言幽黙, 所以他改行當沒幾年, 在丑行中便頗有名氣. 根據記載, 1863年他已改搭四喜班, 成爲四喜班丑行中排名第一的丑角. 此後, 劉赶三在演戲的四十餘年中先後搭入過永勝奎班⋅嵩祝成班⋅三慶班⋅小丹桂班等, 仍列丑行第一名, 與同時有名的生旦演員都合演過. 而且, 他擔任精忠廟梨園會首職務, 丑行演員當會首很難, 但他由於技藝卓絶⋅學識豐富⋅性格爽直, 得到昇平署和同行們的認可, 自同治初年到1894年逝世, 得以擔任梨園界會首一職. 劉赶三對京劇丑行最大的貢獻在於他所演的丑婆子戲. 可以說, 是他開創了京劇丑婆子行當的藝術天地, 成爲了這一行當的開山祖師. 在他之前, 對丑婆子戲從來無人留意, 經過他一扮演, 這一行當始爲人矚目, 呈現“菊部而今重丑婆”的格局.<探親家>是他的拿手劇目, 他在其中扮演鄕下媽媽, 曾名聲传扬於北京, 冠絶一時. 凭此進入<同光名伶十三絶>, 與各行當中最有名的演員比肩而立, 可見當時對他的推崇. 劉赶三還有一點爲世人所賞識尊敬的, 便是“語含譏諷, 投槍匕首, 現情抓哏, 直刺權貴.” 這是繼承和发扬了古代優伶“執藝以諫’, ‘隨戲寓諷”的諷諫傳統.他以無畏無私的精神, 大膽諷諫, 抨擊時弊, 留下了至今仍爲人傳頌的梨園佳話.
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여승환 한국중문학회 2023 中國文學硏究 Vol.- No.90
The appearance of <HuangGong of East Sea> has an important meaning enough to decorate the first page of ancient Chinese Drama art history. The records of <Xijing Fu> and 《Xijing Zaji》 are valuable text materials for the study of <HuangGong of East Sea>. The difference between the two records came from the form of the record and the point of view of the recorder looking at <HuangGong of East Sea>. Zhang Heng’s <Xijing Fu> is a work of Fu(poetry in Han Dynasty), he described the directing form of various arts unfolded under the name of ‘Jiao-Di opera’. Ge Hong’s 《Xijing Zaji》 aims to collect various interesting stories. For this reason, it did not focus on the performance of <HuangGong of East Sea>, but described the story centered on HuangGong, who gained fame as a method in the late Qin Dynasty. <HuangGong of East Sea> has a story of conflicting contradictions and reveals undeniable theatrical characteristics of plot development with causal relationships. The format of the performance would have been the main scene of the fight between HuangGong and the white tiger. However, it was not the form of Jiao-Di art, which means simple strength fighting. The actors would have acted in makeup to maximize the figures of HuangGong and the white tiger. Through this, they would have revealed the aesthetic characteristics of the play that expected the development process and ending of the story. The debate on whether <HuangGong of East Sea> is a comedy or a tragedy should be looked at from the perspective of changes in the environment of the times. In particular, the difference in the position of the recorder would have forced them to have different views of ridicule and sympathy for HuangGong. 漢代 角抵戲 항목에 포함되어 기록된 <東海黃公>의 출현은 중국 戲劇 형성과 발전의 출발점으로 인식될 만큼 중국 고대 戲劇史에서 차지하는 의미는 크다고 할 수 있다. 본고는 漢代에 공연된 <東海黃公>의 공연상황과 희극사적 의미를 재조명한다는 목적에서 현존하는 관련 기록을 다시 한번 살펴보았으며, 지금까지 제기된 <東海黃公>에 대한 쟁점 중 戲劇性 문제와 故事 내용의 喜⋅悲劇性 문제를 중심으로 정리 고찰하였다.
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여승환 고려대학교 중국학연구소 2023 中國學論叢 Vol.- No.80
This paper examines the historical background and performance situation of <Fankuai Paijunnan(樊噲排君難)>. <Fankuai Paijunnan> is a Song and Dance Drama performed in the Tang Dynasty. The subject matter of the story is the situation in which Fankuai saved the life of LiuBang at the ‘Hongmen banquet.’ All records that can be considered that <Fankuai Paijunnan> was performed in the Tang Dynasty are all found in Song Dynasty literature. Based on these records, <Fankuai Paijunnan> performed at a court banquet in the 4th year of the Guanghua reign of Emperor Zhaozong. Zhaozong held a banquet to reward SunDezhao for saving his life after return to the throne, and ordered actors to perform <Fankuai Paijunnan>. Unfortunately, there is no specific record left, so it is not clear what kind of content and format the <Fankuai Paijunnan> was performed at the time. However, the scene in which Fankuai bravely opens and enters the military gate must have been the most interesting highlight part of the entire performance that drew people’s attention. This may be the reason why <Fankuai Paijunnan> is referred to as <Fankuai Paita(樊噲排闥)>. In addition, in <Fankuai Entering Hongmen Fu(樊噲入鴻門賦)>, the performance of Fankuai was vividly expressed, and this can be said to be data from which we can guess the appearance of Fankuai expressed in the play. The story of the ‘Hongmen banquet’ has been widely talked about since the Han Dynasty. Even in the Tang Dynasty, it was widely popular in the form of music dance, lyrics, and puppet play. Of course, The story of ‘Fankuai Paijunnan’ is not newly made because of the restoration of Zhaozong. Theatrical performances were prevalent in the Tang Dynasty. Judging from this circumstance, it is highly likely that <Fankuai Paijunnan> already existed in the form of a play.
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왕소농(汪笑농)(1858-1918)의 희극(희劇)활동 고찰
여승환 한국중문학회 2011 中國文學硏究 Vol.43 No.-
汪笑농(1858-1918)是晩淸著名的京劇演員·劇本作家, 同時以近代京劇改良的先驅名垂於世. 1894年, 他在天津正式投身희劇界, 後來上海加入丹桂·天仙·春仙茶園等演出. 在表演上, 汪笑농博採同時代著名演員之長, 又能吸取其他劇種的長處, 形成自己獨具特色的演唱風格. 此外, 演出時他常作卽興發揮, 當衆發表演說, 被譽爲``伶聖``·``희才子``·``言論老生``·``희班革命的大家``等. 表演之外, 汪笑농是``梨園編劇第一能手``. 他是一個具有近代意識的知識人. 他目睹現實的黑暗·國家主權的淪喪, 充滿憂患之感, 在改良維新思潮的影響下, 將희劇看作是對民衆進行宣傳敎育的最有力的工具, 同時也是自己感情表達的載體. 所以針對時事, 打發感慨, 改編創作了大量京劇劇本. 他改編的劇本, 흔多題材取自歷史故事. ``借古喩今``是汪笑농新編歷史劇最大的特徵. 本稿考察了他的新編歷史劇本中最具代表性的<哭朝廟>·<黨人碑>. 他又創作了時事劇<瓜種蘭因>, 該劇是上海京劇舞臺上第一個``洋裝新희``, 也是上海京劇劇目中最早的外國題材故事劇. 汪笑농不僅是演員·劇本作家, 而且還是京劇改革家. 1904年, 他參加《二十世紀大舞臺》創刊, 先導了``改革惡俗, 開通民智, 提倡民主主義, 喚起國家思想``的京劇改良目的. 他以自己的舞臺表演經驗和劇本創作實踐, 爲京劇改良運動做出重要貢獻. 因此, 可以說是他在中國京劇發展史上, 具有흔大的影響力.
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