宋俊华
论文题目：中国古代戏剧服饰研究
作者简介：宋俊华，男，1968年06月出生，1999年09月师从于中山大学黄天骥教授，于2002年06月获博士学位。
摘
要
戏剧是一门综合艺术，其本质是角色扮演。构成戏剧的所有因素都体现并服务于角色扮演这个本质，其中，戏剧服饰是演员用以扮演角色的最直接、最形象的因素之一，故考察中国古代的戏剧服饰对研究中国古代戏剧的本质及形态问题都是很有意义的。但是，由于长期以来人们对戏剧形态问题缺乏重视，以致今天在中国古代戏剧服饰研究的许多领域还几乎无人涉足！这种状况严重制约了中国古代戏剧史的深入研究。因此，本文试图在全面整理中国古代戏剧服饰资料的基础上勾勒出中国古代戏剧服饰的演变历史，并利用符号学、美学等学科方法系统探讨中国古代戏剧服饰的美学特征等问题。
首先，考述了中国古代戏剧服饰的演变历史。
中国古代戏剧服饰的起源与中国古代戏剧和中国古代服饰的起源都密切相关，戏剧起源于原始人的角色扮演，服饰产生于原始人对自身的装饰，因此，中国古代的戏剧服饰起源于原始人通过装饰自身而进行的角色扮演。现存的原始绘画和上古文献中都有关于原始人装扮成动物进行表演的记载，他们在表演中所用的动物皮毛、翎子等就是后世戏衣中动物装的萌芽。商周时期的驱傩和祀神仪式往往伴随着扮神表演，巫师扮演神怪所用的奇异面具及华美服饰是后世戏衣中神怪装的滥觞。后来扮神表演中娱神与娱人功能的分离和转化，促成了专门艺人——倡优的诞生。“优孟衣冠”就是一场倡优装扮真人的成功表演，穿戴“孙叔敖衣冠”是优孟扮演孙叔敖取得成功的重要条件之一，这场表演也开创了后世戏剧从生活常服中提炼戏衣的传统。
汉、隋蔚为壮观的百戏表演不断推动了扮相艺术的进步，扮兽、扮神、扮人的表演及其服饰都在前代基础上获得了较大发展。歌舞戏和说白戏是唐代艺苑中两株引人注目的奇葩。歌舞戏是以歌舞形式进行的角色扮演，其表演服饰因角色、剧情而设，注重装饰性和情感性；说白戏是以滑稽说白形式进行的角色表演，以参军戏为典型代表。参军戏服饰则因脚色而设：参军穿的“绿衣”与唐代参军职官服饰相似，苍鹘穿戴的“髽髻鹑衣”则与市井庶民服饰相类，这两个脚色的服饰都特征鲜明，已具有了程式性。
宋金剧坛上先后活跃着两个剧种：杂剧和南戏。杂剧在宫廷与民间都有很多的观众，是宋金时期的主流戏剧，宋金统治者都把杂剧作为宫廷宴享的重要节目，民间勾栏也把杂剧列为常设表演。宋金杂剧的盛演，大大推进了戏剧服饰发展的进程。宋金杂剧根据其表演的特点着重发展了副末、副净服饰，使得滑稽戏装趋于成熟；装孤、装旦脚色的庄重戏装也在俳优常服的基础上获得了较大发展。总之，宋金杂剧服饰继承了唐代戏装的装饰性、符号性、程式性特征并有所推进。而形成于两宋之交的南戏则在一开始就碰到了恶劣的生存竞争，它没有像杂剧那样走进宫廷而是选择了民间发展的道路。它的综合性更加强了，脚色更加丰富了，表演本色而灵活，服饰简朴而极具表现力。
宋金杂剧还没有完全退出历史舞台，元、明杂剧便相继粉墨登场了。元杂剧虽然踩着宋杂剧的鼓点而来，但它的戏衣却非宋杂剧所能比拟了。明代杂剧以宫廷盛演的优势在服饰上迈出了决定性的一步，它灵活地吸收、采用明代生活常服来扮演角色，从而完善了戏剧服饰的程式性、符号性和装饰性特征，尤其是它用宦官常服来扮演武将角色，直接促使了戏剧服饰可舞性特征的最终形成。
明清传奇在从南戏的母体脱胎后，受到了上下层社会的热切关注，不仅有大批文人作家为它创作剧本，而且有众多当行艺人为它的演出奔忙。传奇服饰从生活常服发展而来，但随着自身表演的发展，它逐渐摆脱了对生活常服的依赖，独立地站了起来，不再用生活常服的名称，而是有了自己独立的称谓。
清代大戏以其恢弘的气势宣示了它辉煌的存在，它把古代宫廷演戏发展到了极致，也把中国古代戏剧服饰推向了成熟。大戏服饰精美华丽，不仅为大戏表演添光加彩，而且也使戏剧服饰成为一门为人们所激赏的独立艺术。
其次，分析了中国古代戏剧服饰的特征。
当我们从中国古代戏剧服饰的历史回顾中走出来的时候，我们发现：中国古代戏剧服饰在不断走向成熟与独立的同时也发展了自己的特征，那就是程式性、符号性、可舞性和装饰性。这些特征既是中国传统文化艺术的结晶，更是中国古代戏剧演出实践的必然产物。
程式性是指中国古代戏剧服饰穿戴的规范性，它既表现在戏剧服饰的纵向形态中（即其随着戏剧服饰历史的发展而不断发展、成熟），也表现在戏剧服饰的横向形态中（即戏剧服饰与戏剧角色类型之间有一种相对稳定的对应性）。从戏剧服饰言，服饰形态的不同类型如颜色、款式、质地等往往对应于不同的角色类型；从戏剧角色言，角色的不同类型如文官、武将、神仙、女性、庶民等往往穿相应类型的服饰。戏剧服饰程式性的形成，与人们的程式思维、戏班的物质条件及中国古代古代戏剧表演的特点都有密切的关系。
符号性是指中国古代戏剧服饰所具有的符号能指与所指及其关系的性质。戏剧服饰的物质形态如款式、质料、颜色、图纹等构成了能指，戏剧服饰所代表的角色意义构成了所指。中国古代戏剧服饰的款式、质料、颜色、图纹等多具有独立的符号指示功能，往往是戏剧角色职业、阶层、民族、性别、性格等身份的象征。中国古代戏剧服饰的符号性，是随着戏剧的不断发展而发展成熟起来的，它既是中国古代生活常服符号性的艺术再现，又是中国传统戏剧艺术写意性的集中反映。
可舞性是指中国古代戏剧服饰有助于戏剧舞蹈的特性，它主要与服饰的款式、质料等有关系，是随着戏剧舞蹈表演的发展而逐步形成的。不同历史时期不同剧种的戏剧表演对舞蹈的要求不同，戏剧服饰可舞性的表现也就有所不同，所以戏剧对舞蹈的要求是服饰可舞性形成的主要原因。反之，戏剧服饰可舞性也促进了戏剧舞蹈表演的发展。中国戏剧的翎子、水袖等就是戏剧舞蹈发展的产物，而中国戏剧独特的翎子舞、水袖舞等表演则又是戏剧服饰可舞性进一步促成的结果。
装饰性是指戏剧服饰美化角色、美化舞台的特性，它是装饰者通过依附于且美化被装饰者而实现的。从装饰者言，装饰性表现为服饰的款式、质料、图纹、色彩等物质形态的美；从被装饰者看，装饰性表现为角色扮相美及舞台美。中国古代戏剧服饰的装饰性是古代演员通过服饰改变自身形体，以便真实、完美地扮演角色形象的必然要求，也是古代宫廷、富商演剧唯美主义观念的产物。
最后，通过对中国古代戏剧服饰的历史和特征的考察而得出结论。
中国古代宫廷演戏服饰与民间演戏服饰之间、戏剧服饰与生活常服之间、戏剧服饰研究与戏剧文学研究之间都是互动关系，前两种互动是推动中国古代戏剧服饰不断发展并最终形成独立体系的动力，后一种互动则表明：戏剧研究一刻也不能离开扮演角色这一本质，戏剧服饰研究如此，戏剧文学研究也应当如此。
关键词：中国古代戏剧 服饰 角色扮演 历史 特征
Abstract
Drama is an integrative art, and its essence is roll playing. All factors in the making of a drama embody and serve drama `s essence. Among these factors, the theatrical costume is the most direct and visual one that is used for roll playing. So studying the Chinese ancient theatrical costume undoubtedly is helpful to research the Chinese Ancient Drama `s form and essence. But for a long time, the Chinese ancient theatrical costume has been paid so little attention to that many fields of it have not been dug up till today. This badly limits the speed of studying the history of the Chinese Ancient Drama. So this paper tries to expound the history of the Chinese ancient theatrical costume on the basis of analyzing its materials in the round. And systematically analyzes its characteristics by the methods of semeiology and aesthetics.
Firstly, this paper expounds the history of the Chinese ancient theatrical costume.
The Chinese ancient theatrical costume `s genesis relates to the origins of the Chinese Ancient Drama and the Chinese ancient clothing. Since the Chinese Ancient Drama comes of the primitive men `s roll playing and the Chinese clothing comes of the primitive men `s dressing themselves up. So the Chinese ancient theatrical costume comes of the primitive men `s primping up themselves for roll playing. Many performances of animal playacting have been kept in the primitive paintings and the ancient books. The fells and the plumages that were used to play sorts of animals by primitive men were the rudiments of the Chinese ancient theatrical creatural costumes. In Shang and Zhou dynasties, gods and spirits were being playacted in the ceremony of lustrum or sacrifice. Those fantastic masks and costumes that used in it were the rudiments of the Chinese ancient theatrical costumes for gods and spirits. Afterwards, as the recreational function of gods and spirits playacting in the scared ceremony was separated and transformed, the professional actors appeared. The You Meng `s Clothes and Hat was a successful performance that an actor playacted a real man. Sun Shuao `s clothes and hat was one of important conditions for You Meng `s success in playacting Sun Shuao. So this performance was the beginner of the Chinese Ancient Drama getting its costume from the living-costume.
The prosperous joint performances of sorts of plays in Han and Sui dynasties made great progress on the Chinese ancient theatrical costume. The performances of animals, gods and men playacting and their costumes all had developed. “Singing and Dancing Drama” and “Speaking Drama” were two kinds of remarkable performances in the art and literary circles in Tang dynasty. The former was the performance that actors played in the form of singing and dancing. Its costume was designed on its roles and story. The costume `s decorative and affective characteristics were emphasized. The later was the performance that in the form of humorously speaking. The Can Jun Drama was a representative “Speaking Drama”. Its costumes were set up on the types of its “Jao Ses”. Can Jun was a “Jao Se” who wore in green and took a “Jian”. Just like the real CanJun officer in Tang dynasty. Another “Jao se” was CangHu who used to be in old clothes, and his costume was humoristic and informal. All the two Jao Ses `costumes were standardization.
In Song and Jin dynasties, there were two kinds of dramas: Za Drama and South Drama. Za Drama was so warm welcomed on both royal and civilian stage that it turned into one part of the mainstream cultures. Most monarchs in Song and Jin dynasties used to programmed Za Drama in their feasts or festival ceremonies. Furthermore, Za Drama also was a popular performance outside the royal court. The prosperously performing of Za Drama in Song and Jin dynasties greatly accelerated the development of the Chinese ancient theatrical costume. The humoristic costumes of FuMo and FuJing were grown up. The statedly costumes of ZhuangGu and ZhuangDan also were developed on the basis of actors `s living costumes. Za Drama `s costume was more decorative, symbolic and normative than ever.
Born in the alternant time of North Song and South Song, South Drama had to face to wicked competition. It did not enter royal court. and it developed itself in civilian society. Relative to Za Drama, South drama was more artistic. It strengthened its confluent characteristic, enriched its JaoSe `s quantity and deepened its social theme. Otherwise, its performance was so flexible that it had unpretending, simple and expressive costumes.
As soon as SongJin Za Drama left, Yuan Za Drama came. Yuan Za Drama `s costumes developed quickly on the base of Song Jin Za Drama`s .We can look into Yuan Za Drama `s theatrical costumes from their cultural relics and scenarios. Za Drama scenarios that were put on in royal court in Ming dynasty, included not only Yuan ones but also Ming ones. Their costumes were kept in the ChuanGuan of the MaiWang Room `s Za Dramas in Transcription and Block-Printed Edition. Most kinds of the Za theatrical costumes came from the living costumes in Ming dynasty. And their symbolic, decorative, regular and orchestic characteristics were enough developed. They were the real recordation of the royal Za theatrical costumes, also were the collection of the Yuan and Ming Za theatrical costumes.
The ChuanQi Drama in Ming and Qing dynasties comes from the South Drama. As soon as it was born, it welcomed by the classes. Many authors wrote scenarios for it. So its performance had greatly developed. The ChuanQi theatrical costume came from the living costume. But it was absolute, for it no longer used the living costume `name, and had its own names
The Great drama in Qing dynasty showed us its existing by its grand vigor. Not only its performances, but also its costume were the top of history. The Great drama `s costume was shining and purifier. It not only bettered the drama performances, but also became a self-existed enjoyed art.
Secondly, this paper analyzed the characteristics of the Chinese ancient theatrical costume.
When we come out from the retrospection of the Chinese ancient theatrical costume history. We find out : while the it was grown up and self-existed, its symbolic, decorative, regular and choreographic characteristics also were grown up. These characteristics were not only the result of the Chinese Ancient Drama `s practices, but also the production of the Chinese traditional culture.
The regular characteristic was about the rules that actors should abide when they wore the theatrical costumes to roll play. It existed in the history of the theatrical costume and grown up following it. As a steady corresponding characteristic between the theatrical costume and theatrical roles, the regular also existed in sorts of dramas in the same dynasty. One side, different types of the costume color and style etc corresponded to different kinds of roles. Another side, different roles ` types, such as civilian, cavalier, god, woman and comer etc. all have their own types of costume. The regular characteristic `s born was related to people `s regular thinking, the substantial conditions of the ancient troupe and the practice of the theatrics.
The symbolic characteristic was the characteristic of signifie, signification and their relations that the Chinese ancient theatrical costume had. The substantial forms of the theatrical costume, such as style, quality, color and picture were absolute symbols. They used to symbolize the characters of roles, such as profession, gender, nationality etc. The symbolic developed following the drama. It is not only the artic reflections of the Chinese ancient living costumes `s symbolic, but also of the Chinese traditional arts.
The choreographic characteristic was the characteristic that the Chinese ancient theatrical costume was helpful for dancing. It related to the costume `s style and quality, and it grown up following the theatrical dancing `s developing. Different times and different kinds of dramas had different needs of dancing. So the needs of dancing was main reason for the choreographic characteristic. On the contrary, the choreographic speeded the dancing developing. Tai feather and Water-sleeve in Chinese drama were the result of the theatrical dancing. And the choreographic of the feather and Water-sleeves led to the Tai feather dancing and Water-sleeves dancing.
The decorative characteristic was the characteristic that the Chinese theatrical costume
beautify the roles and the stage. The decorative was the necessary needs that the actors really and ideally roll play by using costumes to change their figure, and related to the ideas of aestheticism.
Finally, after seeing about the history and characteristics of the Chinese ancient theatrical costumes, this paper draws its conclusions.
The royal theatrical costume and the folk theatrical costume, the theatrical costume and the living costume, the study of the theatrical costume and the study of the theatrical literature all interplay each other. The former two interplays were drives to stimulate the development of the Chinese ancient theatrical costume. The later told us, the study of drama must not ignore the drama` s essence. Studying the theatrical costume should such do, so does the study of the theatrical literature.
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Key words: the Chinese Ancient Drama the theatrical costume
roll play history characteristic
