中国戏曲成型于唐朝，唐明皇李隆基在皇宫内梨园开设科班，故旧戏子称梨园弟子。至宋代，约北宋年间，戏剧开始走向民间，并在市井乡间大大发展起来。 当时的瓦舍即是今天的娱乐场，勾拦则是剧场。一个瓦舍少则三、四个勾拦，多则十几个勾拦。就是有十几台节目在同时表演，并伴随还有茶馆，酒肆，赌台，妓院，小贩，杂艺等， 颇似百老汇４２街，是一个中国古代的拉斯维加斯。

楚山艺术学院将于０８年３月２２、２３日推出仿宋瓦舍剧：勾栏百戏就是仿效当年宋代瓦舍演出场景，结合现代剧场，作表演秀。演出将由剧场门口开始， 有打鼓，打拳，杂耍，叫卖，戏班子管事在门口吶喊，请过路客人入场看戏。进场者可见饮者，小贩，赌徒，妓女，顽童等三三两两的游人，在踢跶，玩球，斗虫，品茶。走入观众席， 见台上有演员在化装，一声锣响，演出开始。

副末角色上场串词，演出节目具为宋代当年名剧。有“籣陵王破阵曲”有“朴旗”“蛮牌”“翻跌”等宋代武技，有小后生模仿木偶表演的“肉傀儡”，宋代舞蹈“舞判官”， 表现庸医治病的宋代的脱口秀“双斗医”，还有雏型戏剧“目莲救母”，表现小目莲僧下入地狱与鬼判争战救母亲的情节。最后由今天的精湛京剧 “贵妃醉酒”压轴，一展中国戏曲风采。 全剧终场，演员送客出剧院。全剧约二小时，是一台艺术品味颇浓的戏曲表演秀。

楚山艺术总监朱楚善表示，近年来楚山艺院致力于一系列的新创作品，如去年12月在纽约上演的“07年版白蛇传”；今年1月和费城剧院合作的反映京剧男旦和法国外交官恋爱故事的百老汇戏剧“蝴蝶君” (尚在费城演出中)以及中小型演出的“京剧风采”和“美猴王”等，都非常成功，取得了美国主流演艺界和中国社区各界人士的好评。即将上演的仿宋瓦舍剧，构思已有五年之久，其中走访过马大， 台大，乔治城大，上海戏剧学院，上海音乐学院，北京文化艺术出版社等，目的是想用一个现代剧场的包装，把原生态的中国戏曲表演情景再现出来， 使美中朋友们更加形象化的加深对中华传统戏剧文化的了介和认识。朱楚善希望广大热爱中华传统文化的各界朋友们共同来关心，推展，弘扬中国传统戏曲艺术。

楚山集中了一批艺术精 英共同担纲，投入创作 。著名京剧表演艺术家 童小苓饰演压轴戏“贵妃 醉酒”的杨贵妃一角。大 华府著名京剧剧作艺术 家、上海京剧院朱楚善 饰演宋代戏班子副末角 色。纽约美华艺术中心 主任周龙章将加盟主持 。北京昆曲院丑角单靖 饰演副净一角。台湾复 兴剧校著名武旦丛美瑜 饰演兰陵王。中国石家 庄市京剧院著名京剧女 武生，中国国家一级演 员郭素玲饰演目莲僧。 著名曲艺表演家王建华 饰演“双斗医”中胡突重一 角，北京昆曲院单靖饰 演宋了明一角。北京昆 曲院小温宇航饰演"双斗 医"中的老师。著名舞者 宁芳等，表演“肉傀儡”， 北京院花脸刘庆先表演“舞判” 。纽约少林寺弟子，河北杂 技团团员加盟参演，并特邀 华府著名话剧表演艺术家王 璐女士扮演戏班子旦一角， 她将用英中文介绍全剧的表 演。另有大华府地区著名音 乐界人士唐渡，李黎英，柯 尹芳, 陈善良，陈婷婷，王玉 立及鼓师黄世荣等加盟创演 。扮演游人等则由楚山艺校 ，洛城中文学校和斯莱 哥初 中的众学生担纲。

中国近代期的音乐
RECENT CHINESE CLASSICAL MUSIC

所有宋、元、明、清等朝都包括在这个时期中， 这时期音乐的特征是诗乐和戏剧， 乃大众普遍的喜好，而纯音乐由主要地位退至次要地位。宋朝的人对诗乐有很大的 喜好，当宴席的场合，他们通常唱些诗来愉悦宾客；但只歌而不舞。不久以后各种 戏剧取代了诗乐得位置，有「南戏」(自明朝称为「传奇」)和杂剧相配；但杂剧在 元朝更得宠，在这戏剧中以此曲演奏重要部分，昆剧直到明朝才开始；京剧的西皮和 二黄乃是清朝的产物。

The music of the Sung, the Yuan, the Ming and the Ch'ing dynasties are included in this age. During this period the special feature of the music was the general prevalence of poetic songs; operas and pure music had to withdraw from their principal position to a secondary one. The people of the Sung Dynasty had a great fondness for poetical songs. During their feasts they usually sang some verses to entertain guests; but there was no dance with the song. Some time later, miscellaneous plays took the place of poetical songs. There were the "southern dramas" (since the Ming Dynasty, there were also some called "dramas of strange tales"). to match the miscellaneous plays. But miscellaneous plays were highly favored in the Yuan Dynasty and the northern tunes played a very important part in the drama. Kun opera was not begun until Ming Dynasty. Hsi P'i and Erh Huang tunes were products of the Ch'ing Dynasty.

由于诗和戏曲相配合，所以每一朝代的乐曲都有它们自己的特色，举例来说，宋朝 的乐曲就经历了三次演变，即： 第一期 乐曲乃承袭自唐朝的宴席乐， 而作某些修改。 第二期 歌谣的演唱和诗词的演唱逐渐分开，且诗词的演唱愈来愈少。 第三期 由於戏曲的普遍，音乐逐渐进入歌剧的范围。

唐朝 (西元六一八 ~ 九○六年)的梨园

堂明皇过着太平盛世，得一宠妃名叫杨贵妃，既美丽又聪慧。贵妃学舞极快，学得 不少赏心悦目的舞曲，如「霓裳羽衣曲」等。 堂明皇下令在梨园(内庭)训练一批少 男，以便和宫中少女配合唱歌舞。此后，用梨园这个名称来称戏团，用梨园子弟为 男女演员的统称；堂明皇本身则被供为戏剧界的祖师爷 - 老郎神。

Pear Garden of the T'ang Dynasty (618 ~ 906) Ming Huang, the Brilliant Emperor, of the T'ang Dynasty, enjoying a time of peace, acquired a concubine named Yang Yuhuan who was beautiful and intelligent. She soon learned to dance many delightful pieces, such as the "Rainbow Skirt and Feather Garment song". The Emperor then decreed that a group of boys be trained in the Li Yuan, the Pear Garden, of the inner court, to do choral dances with girls from the palace. Hence, the name "Li Yuan" was used to refer to the theatre, and "Children of the Pear Garden" has become the general name for actors and actresses. The Emperor himself is worshipped as the patron of Chinese opera.

宋 (西元九六○ ~ 一二八○年) 元 (西元 一二八○年 ~ 一三六八年) 杂剧

「杂剧」一词见于宋真宗时期宫廷百戏伎艺项目中，人们对此时的杂剧内容所知甚 少。宋杂剧是否为元杂剧的先驱，至今仍为疑问。

当宋都南移至现在的浙江绍兴县时，学者们才开始采用南方方言，撰写剧本，称为 「南戏」，意即「南方戏剧」。后来明代(西元一三八六 ~ 一六四四年) 的传奇， 即脱胎于此。元继宋鼎，为杂剧黄金时期，现存的「元曲选」，收录杂剧百篇，现 代的平剧大多从此处撷取剧情。

“Miscellaneous Plays" of the dynasties of the Sung (960~1280) and the Yuan (1280 ~ 1368) It was in the reign of Chen Tsung of the Sung Dynasty that the name Tsa Chu, "Miscellaneous Plays" was listed in the program of royal entertainments. Little was known about the content of the plays; so it remains doubtful whether they were the pioneers of the "Miscellaneous Plays" of the Yuan Dynasty. When the Sun capital moved south, to the present Chekiang Province, scholars began to compose plays in the southern dialect. They were called Nan Hsi, Southern Drama, from which was derived the "Ch'uan Ch'i" of the Ming Dynasty (1386-1644). The Yuan Dynasty, which succeeded the Sung, was the golden age of the "Miscellaneous Plays". A collection of one hundred plays has been preserved to the present. Many of them furnish plots for present-day operas.

明代(西元一三八六 ~一六四四) 传奇
「传奇」一词英文意译是“Narration of Wonderful Thing”(奇情事务的传述)。 因为奇情大半是恋爱故事， 所以我倒宁可称此类戏剧为“Romances”。 明传奇和 元杂剧的基本差异如下：

杂剧
一、杂剧每本四折，每折一人主唱，一韵到底。
二、以琵琶及其他弦乐器为主要乐器。
三、采日用语言，风格生动活泼。
四、剧本中人物进场，报知姓名， 例如「陈夫人进」
传奇
一、每本句数甚多，并不限制一人主唱或每句一韵，可以换韵。
二、鼓，板，笛为主要乐器。
三、运用文人雅士韵文，风格精炼雕琢。
四、人物进场，报知角色， 例如「生进」(男性角色)

"Romances" of the Ming Dynasty (1386-1644)
The literal translation fo rthe "Ch'uan Ch'i" is "Narration of Wonderful Things". Since the wonderful things are mostly love affairs, I prefer to call this type of drama "Romances". The differences between Ming "Romances" and Yuan "Miscellaneous Plays" are as follows:

"Miscellaneous Plays"
1. Each play has four acts and each act has one main character singing one tune throughout the whole act.
2. P'i P'a, the melon lute, and other string instruments are the dominant musical instruments.
3. Using every day speech, the style is lively and vigorous.
4. In the script, the entry of characters is designated by their own names such as "Enter Madam Cheng"

"Romances"
1. A play may have manyy scenes. No limitation of singing by one character or of one tune in each scene.
2. Ku, the drum, pan, the wooden clapper and Ti (flute) are the chief musical instruments.
3. Using scholarly and literary verses, the style is refined and polished.
4. Characters are designated according to the class each belongs, such as "Enter a Sheng, a male role"

Both the Yuan "Miscellaneous Plays" and the Ming "Romances" contributed to the shaping of the present opera, but the division of scenes and the classification of characters in the present opera derived directly from the "Romances" rather than from the "Miscellaneous Plays"

面具
脸谱源于阑陵王的「代面」。西元六世纪，阑陵王括上代面吓跑敌人。然而国剧中 德面具并不常用，只在少数场合上，演员才使用面具。一种情况是庆贺新年，演员 扮成「增福神」挂着一个微笑的白面具，表演哑剧舞蹈。这段演出通常是新年时期 正式演出前的序曲，叫做「跳加官」。此外，当仙子到天上见玉皇大帝时，也有时 用面具。
鬼有时也挂上可怕的面具吓人，或告诉观众，他所扮演的角色是鬼。不久以后，出 去面具，显现本来的面目。

The mask
Though face painting was originated in the mask worn by Prince Lan-ling in the sixth century to scare away his enemy, on the opera stage, there are only a few occasions on which actors wear masks. One occasion is to celebrated Chinese New Year. The character who impersonates the God of Fortune appears to bless the audience by showing several scrolls bearing lucky words or phrases. Wearing a smiling white mask, he does a short pantomime dance as an overture to the regular performance. This is called "Tiao Cha Kuan", Dance for Promotion. Another occasion is when the fairies go to the Heavenly God; some wear masks. A ghost sometimes puts on a dreadful looking mask to frighten a person, or to tell the audience that he is acting as a ghost; then after a moment he takes it off and shows his real face.

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