明代上黨神廟劇場研究

Research on Shangdang Temple Theatre in the Ming Dynasty

明代神廟劇場為中國神廟劇場演進過程中的重要一環。本文以專題性、區域性為視角，在收集整理上黨地區明代神廟劇場實物及文獻史料的基礎上，分析概括出明代上黨神廟劇場「農村包圍城市」的分佈趨勢、金元舞樓遺風的延續、以及神廟劇場形制佈局的變革創新、明建清修之劇場的斷代困惑、「舞樓」稱謂的雅俗分化等若干特點。且著重探討了部分舞樓上承金元舞樓單體式亭式建築風格，採用扒梁式結構，體現出明代神廟劇場建築的傳承性與保守性。多數舞樓採用殿堂式抬梁結構，且開始嘗試山門式舞樓、兩側戲房、看樓等組合形式的建築格局，開啟明清神廟劇場改革之風，體現出明代神廟劇場改革創新的一面。

The temple theatre of the Ming dynasty is an important part of the evolution of Chinese Temple Theatre. The perspective of this paper is thematic and regional; based on collection and collation of the physical and historical materials pertaining to Ming dynasty temples in the Shangdang area, it analyzes and summarizes tendencies of distribution of ‘the countryside surrounding the city’ in terms of Ming dynasty Shangdang Temple Theatre. The paper also analyzes and summarizes the continuation of the legacy of Jin and Yuan dynasty theatre, innovations in the temple theater layout, as well as the dating confusion stemming from theatre sites that were built in the Ming dynasty but rebuilt in the Qing dynasty; moreover, it treats some characteristics of the concept of traditional Chinese opera embodied in the term ‘theatre’ as it is applied differentially to high culture and folk culture. The paper also focuses on the single type style of pavilion serving as the dance floor in the Jin and Yuan dynasties, using beam structure; and studies its inheritance and conservation in Ming dynasty Temple Theatre. Hall type post-and-lintel structure was adopted in most theaters. Eventually, the architectural style took up various combinations of a triple pylon style, a theatre space flanked by two wings, a building for the audience and other forms of building structure, to open up the reform of Ming and Qing Temple Theatre, reflecting the innovations of Temple Theater in the Ming dynasty