本书是国家社科基金项目元代“平阳戏剧圈”的综合考察与研究【07BZW038】的最终成果，面世之际，虽然极端忐忑，也得赧颜絮叨几句，聊遣羞惭情怀。

这一篇羞怯的序言，不是对拙作的概括介绍，也不是对艰辛的自我表白，只是与读者的一种交流。

初涉研究的过程中，流动激荡的思想，免不了在某个地方沉静如潭，把一个个不成熟的律动凝结为瞬间的闪烁。工作即将结束时，捡拾这些曾经遗落的闪烁，便成为交流的冲动。虽然明知自己才疏学浅，但是一贯崇信读者的真诚和宽容，于是也就由着性子口无遮拦了。

“平阳戏剧圈”是元杂剧的四大戏剧圈之一。遗憾的是此前还没有人针对一个戏剧圈进行过全面系统的研究，而只对本课题的部分子题有过一些涉猎，或者在宏观研究时有过原则性的论列。我们很想抓住这次国家社科项目获批的机遇，全方位地考察研究“平阳戏剧圈”的戏剧版图、形成动因、创作和演出特色、戏剧文物遗存、地位及影响，弄清从宋金杂剧到元杂剧的嬗变过程，揭开“平阳戏剧圈”的庐山真面目，力求对“平阳戏剧圈”进行系统的描述、分析和理论概括。深感内疚的是，我们的工作极其有限，不敢奢谈填补文学史研究的空白；也不敢妄论纠正戏剧史个别传统观点的偏颇，更不敢诳云为山西文化建设从古代戏剧方面提供支撑，只是斗胆把这些不成熟的想法与尊贵的读者坦诚交流。

我们探索性地划出了“平阳戏剧圈”的戏剧版图，探寻了“平阳戏剧圈”的厚重历史，对其作家和时间跨度进行了厘定；从平阳的政治、经济、民族关系等方面探讨了它们与“平阳戏剧圈”的关系；对石君宝，郑光祖，李行道、孔文卿、狄君厚、于伯渊、赵公辅进行了考述；从题材追求，思想倾向，艺术个性，地位影响四方面进行了难称详尽的剖析；从儒学地位、宗教格局、土风民俗、印刷出版等方面清理了它们与“平阳戏剧圈”的联系；从诸宫调和散曲方面考察了它们对“平阳戏剧圈”的描述和记载；对“平阳戏剧圈”的地下、地上戏剧文物遗存，地方志中的演戏描述进行了力所能及的考察和整理，总结了其价值与意义。我们的体会主要是：

1.我们探索性地圈出了元代“平阳戏剧圈”的戏剧版图，并用图示的方式予以表达。

圈出元代“平阳戏剧圈”的戏剧版图，是研究的前提和基础，因为没有确定的研究对象和研究范围，研究就无从谈起。我们以为，杂剧在形成和传播的过程中，文化认同是基础。行政区划的确定表面上是一种地缘切分，实际上相同的地理范畴内的人们，受自然条件、气候条件的制约，往往具有相同或相近的生产方式和生活方式，也往往具有相同或相近的文化和心理认同。因此，元代“平阳戏剧圈”的版图划分，适宜以文化标准为主，同时考虑当时的行政区划和当代的戏剧遗存，以便求得一个客观的划分结果。最不适宜的是当代行政区划的标准，因为元代“平阳戏剧圈”不是一个现实的实体存在，而是一个历史存在。被圈入的这50多个县，具有一致的文化认同，从地理位置上看，大略相当于现今的临汾市、运城市、长治市和晋城市，同时包括现在不在这四个市之内的灵石、辽山、榆社、和顺、石楼五县，另外铜鞮并入了沁水。我们认为这就是元代“平阳戏剧圈”的戏剧版图。文学史上有“平阳戏剧圈”的概念，但没有人明确这个概念的实际区划，这就使概念变得模糊，易被虚化。圈出了这个戏剧版图，可以让概念凝固起来，这对于研究是至关重要的事情。当然，对此也可能有不同的观点，因为我们的圈定带有抢先性甚至武断性，也不可能听到不同的意见，只好恭候拙作面世后读者的评断。

2.我们探索性地对一个“戏剧圈”进行了较为系统的描述、分析和理论概括。

专门针对一个戏剧圈进行系统研究，学者们还没有来得及下手，让我们捡了一个便宜。我们只能试探性地先圈定元代“平阳戏剧圈”的戏剧版图，接着对“平阳戏剧圈”从政治、经济、民族关系三个方面进行了社会学视角的分析，然后从儒学地位、宗教格局、土风民俗、印刷出版方面进行文化学角度的考察，并从诸宫调和散曲两个方面进行文艺学方面的审视，重点对“平阳戏剧圈”的七位作家及其作品进行整体的剖析研究，从作家考述、题材追求、思想倾向、艺术特征、地位影响等方面进行全方位的剖析，最后对“平阳戏剧圈”的戏剧文物遗存进行田野调查，按不同朝代和露台、戏台、碑刻、壁画、砖雕等不同种类进行清理研究。这种研究一个“戏剧圈”的学术框架，是否合理，是否科学，虽然也邀请部分专家学者进行过论证，但内心还是忐忑不安，唯恐有挂一漏万之嫌。

3.我们试探着梳理出了宋金元杂剧破茧成蝶的过程。

宋金杂剧是如何演变为元杂剧的，戏剧史上没有准确的描述，许多人对元代初年杂剧突然崛起感到茫然，学术界曾经专门开会进行过专题研讨，至今没有做出令人信服的回答。“平阳戏剧圈”的戏剧文物足以形成一个完整的文物链，它显示出中国古代戏剧由形成到繁荣的演进过程，特别是在这一过程中角色地位的此消彼长，显示出由比较固定的戏谑调弄为主的杂剧到“五花爨弄”再到故事体的元杂剧的破茧成蝶的过程。

“平阳戏剧圈”的金代戏剧文物，“五花爨弄”比重最大，说明这是金代杂剧常见的表演形态。同时金代杂剧演出正在向叙事化、故事化的方向跨越，引戏被逐渐边缘化并最终退出了行当系列；装孤的作用渐趋增强，由“或添一人”的地位逐渐走向了戏台的核心，甚至出现了“双孤”砖雕；“双副末”现象也已经出现，这说明戏班正在根据剧情设置角色，这从一个侧面反映了民间杂剧艺人开始突破了三段式的“五花爨弄”的调笑体制，根据表演的内容增减角色，为杂剧走向成熟的叙事体制迈出了具有历史意义的一步。这种变化具有方向性的导引意义，预示了元杂剧的迅速崛起。正是有了金杂剧的探索和铺垫，才会形成元代杂剧的横空出世，称霸曲坛。

“平阳戏剧圈”的戏剧文物表明，在金元之交，北曲杂剧业已形成，但“四折一楔子”的体制是否存在，现存的160余种“元杂剧”剧本，是否一部分可能为金代作品，还有待进一步研究，不敢妄下结论。人们对于元杂剧为何一经出现便高度成熟、流播全国迷惑不解，如果更多地了解金元间平阳地区戏曲活动的相互传承与联系，或许会疑团顿失。

4.我们认为民间信仰是杂剧主盟的根本动因。

在研究的过程中，我们逐渐认识到，民间信仰是杂剧主盟的根本动因。民间信仰，古已有之，宋代以后，官方的支持力度空前增大。天下名在地志，功及生民，宫观陵庙能兴云雨者，并加崇饰，增入祀典。诸神祠无爵号者赐庙，已赐额者加封爵，初封侯再封公次封王。岳渎、城隍、仙佛、山神、龙神、水泉、江河之神及诸小祠，皆由祷祈感应而封赐。“平阳戏剧圈”本来就寺观林立，在官方的支持下，民间信仰之风，愈煽愈烈，淫祀神庙，无社不有。入元之后，此风有增无减。

“平阳戏剧圈”的戏台清一色都建在民间信仰的神庙之中。土地由信徒捐献或出资购买；建造主体是民众，同时也有官员题篆写记，有的甚至慷慨解囊。在建庙问题上，官与民似乎分歧最小，共鸣最大。可见民俗的力量很难估量。善良的百姓总是乐于从自己辛苦恣睢得到的微薄收成中，切分出一部分来孝敬神灵，修庙塑像，献牲供乐，以此求得生活的富足和家人的平安。

戏剧作为一种方兴未艾的文艺形态，最容易得到民众的青睐，以献戏表达虔诚，借神灵愉悦自身，舒展一下孔武的肌肉，缓解一下压抑的内心。民众既是戏剧的助产婆，又是戏剧的消费者，既是戏台的构建者，又是戏台的拥有者，在推动戏剧走向辉煌的过程中，发挥了举足轻重的作用。他们喜爱杂剧，需要杂剧，追捧杂剧，建台演戏，掏钱看戏，使杂剧的创作—演出—消费形成了一个完整的链条，构成了一种良性的气场，使戏剧获得了挺进占有农村市场的强大推力。

5.我们对杂剧的基本特征进行了个性化的初步概括。

戏剧的基本特征学术界争论较大，至今没有形成统一的认识，例如中国戏剧到底是抒情性的，还是叙事性的，学者们依然互不相让。研究过程中，我们越来越认识到，在杂剧主盟问题上，外部环境无论多么适宜，起决定作用的还是盟主本身的优势，这就是杂剧的综合性、定时性、叙事性、通俗性和普适性。

综合性：杂剧一目了然的裸露表层的优势自然是综合性。这一点人尽皆知。正因为杂剧能够给接受者更丰富更高级的审美享受，必然成为文艺的新宠。当杂剧吸收诸宫调等民间文艺形式之后，它的体制便发生了本质意义的提升。这种一个角色主唱的“四折一楔子”的结构模式，全面超越了同侪，确立了其他文学艺术无法抗衡的盟主优势。

定时性：定时性在主盟中的优势常常被人们忽略。定时性是指一本元杂剧演出的用时大致为一个时辰。其优势是：一适得其中，它使杂剧获得了独当一面的地位，无须它艺协助，无须自我拼凑，一本杂剧完全可以独立支应。二心中有数，编剧写戏，戏班演戏，百姓订戏都心中有数。作为商业行为，形成了一种默契，一种约定，避免了许多模糊和误会，各方都在规范中行事。三同步协调，符合一般人的审美习惯，不至于审美疲劳；四符合社会生活的节奏，适合农耕文明条件下劳作、休息与娱乐的时间切分，用于娱乐、节庆、庙会、春报、秋赛，恰如其分。

叙事性：无论旦本还是末本，每一部杂剧都在演述一个故事，这是一个无法否定的事实。要让人们专心致志地乐一个时辰，从策略层面看，除了叙事恐怕别无选择，否则只能增大演出的成本。杂剧是用具有民族特色的戏剧语言来叙事的。它包括文本的创作和舞台的再创作。宾白以叙事为主，叙中含情寓理；唱词着重叙述人物行为的内心想法和情感褒贬；科是作者以提示的方式对叙事进行的限制和规定。舞台的再创作是对文本叙事的搬演，并调动一切可能的手段，对事件进行个性化“呈现”；用角色行当在戏台上“呈现”故事，是杂剧的大智慧，因为它只大略划分了戏剧矛盾的基本构成，并没有定死人物的具体性格；就是题目、正名也是对整本杂剧叙事的概括。

普适性：杂剧在形成之初就具有浓重的草根文化特性，即使文人参与进来，也无法改变，只能顺势前行。首先，文人多是下层书会才人，下层官员，本身就具有草根原色。其次，杂剧必须经过舞台的二度创作，在特定的剧场中才能成为可接受的文艺消费产品。参与二度创作的人员是排斥文言的：接受者的主体是基本没有接受过学校教育的农民和市民；演员说唱白话轻车熟路，说唱文言则勉为其难；统治阶层主流的蒙古贵族听白话还凑合，听文言则如天书。杂剧要生存，要发展，只能走通俗化的道路，这是杂剧的必然选择，也是文人的必然选择。

同时，元杂剧的服务对象是全方位的。无论内容还是形式，无论官府还是百姓，无论城市还是乡村，一个都不能少。600余部元杂剧，除了绝对不可触及的政治禁区和道德底线，无所不包，从思想角度判定部分作品并非关汉卿所作，恐怕是靠不住的。以为浪子斗士不可能创作喜庆歌德的作品，恐怕有点偏颇。

6.我们认为杂剧传播的路线图并非单纯的由城市到农村。

我们认为过去戏剧由京师向外埠、由城市向农村传播的固有看法，与“平阳戏剧圈”的实际情况多有抵牾，认为城市与农村是互相影响的。首先，三通宋代石碑有关戏台建造的记载，证明早在北宋，当孟元老们津津乐道京师勾栏瓦肆之际，“平阳戏剧圈”已经出现了比较先进的叫做舞楼、舞厅、舞庭、舞亭的戏台，而戏台的出现是戏剧发展的必然结果。这些最早的戏台的建设者不是帝王将相，也不是能工巨匠，而是社里乡间的普通百姓李廷训、任真、秦一之辈。可见在戏剧形成之初，就浸染着农耕文明的元素，依托着乡镇农村的天地，接受着农民热衷的推崇和忠实的拥戴。城市勾栏瓦肆的戏剧演出无可置疑，但舍弃农村绝不是完整的戏剧发展史，而且农村的戏剧形态可能比城市还要先进。其次，“平阳戏剧圈”的金代戏台，为我们提供了无声而形象的实物资料，呼唤着当代学者借此去复原历史的真相。其三，“平阳戏剧圈”元代戏台的地理分布相当均衡，说明它的内部结构是紧密的，整体规模是宏大的，这样的气场是杂剧主盟的强大推力，这是元杂剧占领广大农村文艺消费市场的有力见证。

“平阳戏剧圈”宋金元戏剧文物的链条式存在，不是否定同一时期城市杂剧的演出，却可以无可置疑地证明农村杂剧的繁荣。而这一时期文献对城市杂剧演出的场所、时间、体制、内容等方面的描述，并不能证明农村的杂剧来自城市。

7.我们认为中国戏剧的发展呈现为共时性和不平衡性的扭结。

“平阳戏剧圈”的戏剧文物表明，中国戏剧的发展呈现为共时性和不平衡性的扭结；不平衡性体现为南方与北方戏剧发展的不平衡，四大戏剧圈与圈外戏剧发展的不平衡，“平阳戏剧圈”内部戏剧发展的不平衡。共时性包括三个方面。第一，宋元时期的南方与北方，南宋与金，就一个朝代而言，戏剧的发展是共时性的；第二，“平阳戏剧圈”不是一个孤立的存在，四大戏剧圈相对独立，又相互影响；第三，在“平阳戏剧圈”内部，平阳地区、河中地区、潞泽地区大体上是共时性的。不平衡性与共时性是孪生兄弟。一种艺术不可能一夜之间在全国普及，特别是在传播方式和传播能力还处在农耕文明基础之上的时代更没有这种可能，而是首先在部分区域形成，发展，受到追捧，然后才向其他地区传播。

8.我们认为中国戏剧的“行当”不应该被视为程式化。

“行当”在传统的观念中被看成戏剧程式化的体现。我们认为“行当”只是中国戏剧人物类别的大体划分，是剧作家和艺人智慧的集中体现，它不是一种性格的规定，同一个“行当”中，人物性格可能有很大不同，包容性很大；古人熟练地划分“行当”之时，并没有“性格”的具体理论表述。既然性格无论，又何谈“行当”就是性格呢？

“行当”也是中国古代戏剧发展的重要标志。先秦的泛戏剧形态无论如何丰富，也说不上“行当”的划分，《东海黄公》是“行当”的可喜萌芽，唐代参军戏的参军和苍鹘使“行当”脱颖而出，并对后世产生了直接而重大的影响，这就是副末和副净。我们之所以把宋金看成中国古代戏剧的形成期，与其五至七个“行当”的形成因果相依。原有的“行当”无法容纳元杂剧急剧膨胀的叙事需要了，就不得不破茧化蝶，衍生出系列化的角色行当，戏剧的繁荣时代也就指日可待了。

9.我们认为宋金与元代的角色有联系也有本质区别。

元杂剧的角色体系，既有宋金杂剧角色的历史沉淀，又有元杂剧本身的创新发展。其角色的设置主要是根据剧情的需要安排的，只不过安排的过程中，运用了宋金杂剧角色的基本框架，在此基础上进行扩张和改造。这是元杂剧不同于宋金杂剧的本质体现，是元杂剧与宋金杂剧在角色设置方面的本质区别，也是元杂剧冲破“五花爨弄”的固定体式，跨入广阔而自由的天地的根本要素。

发现总是有限的，研究也只能是有限的；发现总是不断的，研究也就是无限的。有限的认识被推翻似乎是必然的，我们等待着推翻，因为这种推翻大多是学术的进步。既是口无遮拦，失误自然难免，唐突之处，期待方家的批评教正。

姚玉光

2011年12月于山西师大

This book is the final result of the comprehensive investigation and research of the "Pingyang Drama Circle" in the Yuan Dynasty of the National Social Science Foundation project [07BZW038]. This shy preface is not a summary introduction to the humble work, nor is it a self-confession of hardship, but only a communication with the reader. In the process of first dabbling in research, the flowing and agitated thoughts inevitably calm down in a certain place, condensing one immature rhythm after another into an instant flicker. Towards the end of the work, picking up these once lost flickers becomes the urge to communicate. Although I know that I am only a shallow learner, I always believe in the sincerity and tolerance of my readers, so I am unobstructed by my nature. "Pingyang Drama Circle" is one of the four major theater circles of Yuan Miscellaneous Opera. Unfortunately, no one has conducted a comprehensive and systematic study of a theater circle before, and has only some dabbling in some subtopics of this topic, or has a principled discussion in macroscopic research. We would like to seize the opportunity of the approval of this national social science project, comprehensively investigate and study the theatrical territory, formation motives, creation and performance characteristics, theatrical cultural relics remains, status and influence of "Binh Duong Drama Circle", clarify the transmutation process from Songjin miscellaneous opera to Yuan miscellaneous opera, unveil the true face of "Pingyang Drama Circle", and strive to systematically describe, analyze and theoretically summarize the "Binh Duong Drama Circle". We feel guilty that our work is extremely limited and we dare not talk about filling the gaps in the study of literary history; They also dare not arbitrarily correct the bias of individual traditional views on the history of drama, let alone provide support for the construction of Shanxi culture from the aspect of ancient drama, but dare to communicate these immature ideas frankly with distinguished readers. We exploratorily drew the theatrical map of the "Binh Duong Drama Circle", explored the thick history of the "Binh Duong Drama Circle", and determined its writers and time span; The relationship between them and the "Binh Duong Theater Circle" was discussed from the aspects of politics, economy and ethnic relations in Binh Duong. Shi Junbao, Zheng Guangzu, Li Xingdao, Kong Wenqing, Di Junhou, Yu Boyuan, and Zhao Gongfu were examined; It is analyzed in detail from four aspects: subject matter pursuit, ideological tendency, artistic personality, and status influence; The connection with the "Pingyang Theater Circle" was cleaned up from the aspects of Confucian status, religious pattern, folk customs, printing and publishing; Their description and record of the "Pingyang Theater Circle" were examined from the aspects of the harmony and scattered music of the palaces; The underground and aboveground drama cultural relics of the "Binh Duong Drama Circle" and the acting descriptions in the local chronicles were investigated and sorted out to the best of their ability, and their value and significance were summarized. Our experience is mainly as follows: 1. We exploratorily circled the theatrical territory of the "Pingyang Drama Circle" in the Yuan Dynasty, and expressed it in a pictorial way. Drawing out the theatrical territory of the "Pingyang Drama Circle" in the Yuan Dynasty is the premise and basis of research, because without a determined research object and research scope, research cannot be discussed. We believe that cultural identity is the foundation in the process of the formation and dissemination of miscellaneous opera. The determination of administrative divisions is ostensibly a kind of geographical division, but in fact, people in the same geographical category, subject to natural conditions and climatic conditions, often have the same or similar production methods and lifestyles, and often have the same or similar cultural and psychological identities. Therefore, the territorial division of the "Pingyang Drama Circle" in the Yuan Dynasty is suitable to focus on cultural standards, while considering the administrative divisions of the time and the contemporary theatrical remains, in order to obtain an objective division result. The most inappropriate is the criterion of contemporary administrative divisions, because the "Pingyang Drama Circle" in the Yuan Dynasty is not a real physical existence, but a historical existence. The more than 50 counties included in the enclosure have a consistent cultural identity, geographically equivalent to the present-day Linfen City, Yuncheng City, Changzhi City and Jincheng City, and also include the five counties of Lingshi, Liaoshan, Yushe, Heshun and Shilou that are not now within these four cities, and Tongqian is merged into Qinshui. We believe that this is the theatrical territory of the "Pingyang Theater Circle" in the Yuan Dynasty. There is a concept of "Binh Duong drama circle" in literary history, but no one is clear about the actual division of this concept, which makes the concept blurred and easy to be blurred. Circled this theatrical map allows the concept to solidify, which is crucial for research. Of course, there may be different opinions on this, because our delineation is preemptive or even arbitrary, and it is impossible to hear different opinions, so we have to wait for the judgment of readers after the publication of the humble work. 2. We exploratively describe, analyze and theorize a "theater circle" more systematically. Specifically for a systematic study of a theater circle, scholars have not yet had time to start, let's pick up a bargain. We can only tentatively delineate the theatrical territory of the "Pingyang Drama Circle" in the Yuan Dynasty, and then analyze the "Pingyang Drama Circle" from the sociological perspective of politics, economy and ethnic relations, and then conduct a cultural investigation from the aspects of Confucian status, religious pattern, local customs and folklore, printing and publishing, and examine the literary and artistic aspects from the two aspects of Zhugong tuning and scattered music, focusing on the overall analysis and research of the seven writers and their works of the "Pingyang Drama Circle", from the perspective of writers' considerations, subject matter pursuits, ideological tendencies, An all-round analysis of artistic characteristics, status and influence was carried out, and finally a fieldwork was carried out on the theatrical cultural relics of the "Binh Duong Drama Circle", and different types of terraces, theaters, inscriptions, murals, brick carvings and other different types were cleaned up and studied. Whether this kind of academic framework for studying a "drama circle" is reasonable and scientific, although some experts and scholars have also been invited to make arguments, but they are still uneasy in their hearts, lest they be suspected of leaking. 3. We tentatively sorted out the process of Song Jinyuan's miscellaneous drama breaking into a butterfly. There is no accurate description in the history of theater how Song and Jin miscellaneous operas evolved into Yuan miscellaneous operas, and many people were at a loss for the sudden rise of miscellaneous operas in the early years of the Yuan Dynasty, and the academic community had held special meetings to conduct special discussions, and so far no convincing answer has been made. The theatrical cultural relics of the "Pingyang Drama Circle" are enough to form a complete chain of cultural relics, which shows the evolution process of ancient Chinese drama from formation to prosperity, especially the ebb and flow of character status in this process, and shows the process of breaking the cocoon into a butterfly from a relatively fixed miscellaneous drama dominated by banter and teasing to "five-flower miscellaneous drama" and then to the meta-miscellaneous drama of the story body. Among the Jin Dynasty drama relics in the "Pingyang Drama Circle", "Five Flowers and Lanes" has the largest proportion, indicating that this is a common performance form of Jin Dynasty miscellaneous operas. At the same time, the Jin Dynasty miscellaneous opera performance is leaping in the direction of narrative and story, and the introduction drama is gradually marginalized and eventually withdrawn from the industry series; The role of pretending to be alone gradually increased, from the status of "or adding a person" to the core of the stage, and even the "double orphan" brick sculpture appeared; The phenomenon of "double vice end" has also appeared, which shows that the opera class is setting up roles according to the plot, which reflects from one side that folk vaudeville artists have begun to break through the three-stage "five-flower trick" ridicule system, and add or decrease roles according to the content of the performance, taking a historic step towards the mature narrative system of miscellaneous drama. This change has directional guiding significance, foreshadowing the rapid rise of metadrama. It is precisely with the exploration and foreshadowing of golden miscellaneous operas that the birth of miscellaneous operas in the Yuan Dynasty will be formed and dominate the music scene. The theatrical cultural relics of the "Pingyang Drama Circle" show that at the turn of the Jin Yuan, the Beiqu miscellaneous opera industry had been formed, but whether the system of "four folds and one wedge" existed, and whether some of the more than 160 existing "Yuan miscellaneous opera" scripts may be Jin Dynasty works, remains to be further studied, and I dare not draw conclusions. People are puzzled as to why Yuan miscellaneous opera has become highly mature and circulated throughout the country as soon as it appeared, and if we learn more about the mutual inheritance and connection of opera activities in the Pingyang area between Jinyuan and Yuan, they may be puzzled. 4. We believe that folk beliefs are the fundamental motive of the main alliance of miscellaneous dramas. In the process of research, we gradually realized that folk beliefs are the fundamental motive of the main alliance of miscellaneous dramas. Folk beliefs have existed since ancient times, and after the Song Dynasty, official support has increased unprecedentedly. The world's name is in the geography, merit and people, palace and mausoleum temple can prosper the clouds and rain, and add decorations, add to the ceremony. Those who do not have a knighthood in the temple of the gods are given temples, those who have already given the title are knighted, and the first marquis is then crowned a prince and then a prince. Yue Du, City God, Immortal Buddha, Mountain God, Dragon God, Water Spring, River God and other small shrines are all given by prayer. The "Pingyang Drama Circle" was originally lined with temples, and with the support of the government, the wind of folk belief became more and more inflammatory, and there were obscene temples. After entering the yuan, this wind has only increased. The theaters of the "Binh Duong Theater Circle" are all built in the temples of folk beliefs. Land is donated or purchased by believers; The main body of construction is the people, and there are also officials who write seals, and some even donate generously. On the issue of temple building, the government and the people seem to have the least disagreement and the greatest resonance. It can be seen that the power of folklore is difficult to estimate. Kind people are always happy to cut a part of their meagre harvest from their hard work to honor the gods, build temples and statues, and offer animals for pleasure, so as to seek prosperity in life and peace in their families. As a kind of emerging literary and artistic form, drama is the most likely to be favored by the people, expressing devotion with drama, using the gods to delight themselves, stretching Kong Wu's muscles, and relieving the depressed heart. The people are both midwives and consumers of drama, builders and owners of theater, and play a pivotal role in promoting drama to glory. They love miscellaneous dramas, need miscellaneous dramas, pursue miscellaneous dramas, build stage to act, pay money to watch plays, so that the creation-performance-consumption of miscellaneous dramas forms a complete chain, constitutes a benign aura, and makes dramas gain a strong impetus to advance and occupy the rural market. 5. We have made a personalized preliminary summary of the basic characteristics of miscellaneous drama. The basic characteristics of drama are highly debated in academic circles, and there is still no unified understanding, such as whether Chinese drama is lyrical or narrative, scholars still do not give in to each other. In the process of research, we have increasingly realized that no matter how suitable the external environment is on the issue of the main alliance of miscellaneous dramas, it is the advantages of the alliance itself that plays a decisive role, which is the comprehensiveness, timing, narrative, popularity and universality of miscellaneous dramas. Comprehensive: The advantage of the naked surface of miscellaneous dramas at a glance is naturally comprehensive. Everyone knows this. It is precisely because miscellaneous dramas can give recipients richer and more advanced aesthetic enjoyment, which will inevitably become the new favorite of literature and art. When miscellaneous opera absorbed folk art forms such as Zhugong tune, its system underwent an essential improvement. This structural model of "four folds and one wedge" of one character lead singer comprehensively surpasses peers and establishes an alliance advantage that other literature and art cannot compete with. Timing: The advantages of timing in the main alliance are often overlooked. Timing refers to the time taken by a meta-drama performance to be roughly one hour. Its advantage is: once it is appropriate, it makes the miscellaneous drama gain a unique status, without the assistance of other artists, without self-piecing, and a miscellaneous drama can be supported independently. The second has a number in mind, the screenwriter writes the play, the drama class acts, and the people book the play. As a business act, a tacit understanding is formed, an agreement, many ambiguities and misunderstandings are avoided, and all parties act in the norm. Three synchronous coordination, in line with the aesthetic habits of ordinary people, not to aesthetic fatigue; Fourth, in line with the rhythm of social life, suitable for the division of time for work, rest and entertainment under the conditions of agricultural civilization, and used for entertainment, festivals, temple fairs, spring newspapers, and autumn competitions, it is appropriate. Narrative: Whether it is the book or the last book, every miscellaneous drama is telling a story, which is an undeniable fact. To get people to concentrate on an hour, from a strategic point of view, there may be no choice but narrative, otherwise it can only increase the cost of the performance. Miscellaneous drama is narrated in a theatrical language with national characteristics. It includes the creation of texts and the recreation of stages. Bin Bai is mainly narrative, and the narrative contains allegory; The lyrics focus on narrating the inner thoughts and emotional praise and disapproval of the characters' actions; Section is the author's restriction and regulation of the narrative in the form of prompts. The re-creation of the stage is the re-enactment of the textual narrative, and mobilizes all possible means to personalize the "presentation" of the event; Using the role to "present" the story on the stage is the great wisdom of miscellaneous drama, because it only roughly divides the basic composition of the drama contradiction, and does not determine the specific character of the character; It is the title and proper name that are also a summary of the narrative of the entire miscellaneous drama. Universality: Miscellaneous opera has a strong grassroots cultural characteristic at the beginning of its formation, even if literati participate, it cannot be changed, and can only move forward with the trend. First of all, most of the literati are talented people in the lower class book club, and the lower level officials themselves have grassroots primary colors. Secondly, miscellaneous dramas must be created twice on the stage in order to become acceptable literary and artistic consumer products in a specific theater. Those who participated in the second creation were anticlusive: the main subjects of the recipients were peasants and citizens who had basically no school education; Actors are familiar with rap vernacular, but rap is reluctant; The Mongolian nobles at the mainstream of the ruling class were okay with listening to the vernacular, and listening to the literary language was like a book from heaven. In order to survive and develop, miscellaneous dramas can only take the road of popularization, which is the inevitable choice of miscellaneous dramas and the inevitable choice of literati. At the same time, the service objects of meta-miscellaneous dramas are all-round. No matter the content or form, whether it is the government or the people, whether it is urban or rural, no one can be less. More than 600 meta-miscellaneous dramas, except for the absolutely untouchable political forbidden area and moral bottom line, are all-encompassing, and judging some works from an ideological perspective that some works are not written by Guan Hanqing is probably unreliable. It is a bit biased to think that it is impossible for the prodigal fighter to create the works of the festive Goethe. 6. We believe that the roadmap for the spread of miscellaneous drama is not simply from urban to rural. We believe that in the past, the inherent view that drama spread from Beijing to foreign ports and from cities to rural areas contradicted the actual situation of the "Binh Duong Theater Circle", and believed that urban and rural areas influenced each other. First of all, the records of the construction of the theater stage in the stone tablets of the Song Dynasty of the Three Links prove that as early as the Northern Song Dynasty, when the elders of Meng talked about the Jingshi hook and the tiles, the "Pingyang Theater Circle" had already appeared relatively advanced theaters called dance buildings, dance halls, dance courts, and dance pavilions, and the emergence of theaters was the inevitable result of the development of theater. The builders of these earliest theaters were not imperial generals or masters, but ordinary people in the countryside of the society, Li Tingxun, Ren Zhen, and Qin Yi. It can be seen that at the beginning of the formation of the drama, it was immersed in the elements of agricultural civilization, relying on the world of townships and villages, and accepting the enthusiasm and loyal support of farmers. There is no doubt that the theatrical performances of the cities are undoubted, but abandoning the countryside is by no means a complete history of theatrical development, and the form of drama in the countryside may be more advanced than in the cities. Secondly, the Jin Dynasty Theater of the "Pingyang Theater Circle" provides us with silent and graphic physical materials, calling on contemporary scholars to use this to restore the truth of history. Third, the geographical distribution of the Yuan Dynasty theater stage of the "Pingyang Drama Circle" is quite balanced, indicating that its internal structure is close and the overall scale is grand, and such an aura is a strong driving force for the main alliance of miscellaneous dramas, which is a strong witness of the occupation of the vast rural literary and artistic consumption market by Yuan miscellaneous operas. The chain existence of Song Jinyuan drama cultural relics in the "Pingyang Drama Circle" does not negate the performance of urban miscellaneous opera in the same period, but it can undoubtedly prove the prosperity of rural miscellaneous drama. However, the description of the venue, time, system, content and other aspects of urban miscellaneous opera performances in the literature of this period does not prove that rural miscellaneous operas come from cities. 7. We believe that the development of Chinese drama presents a kink of synchronic and imbalance. The theatrical artifacts of the "Pingyang Theater Circle" show that the development of Chinese theater presents as a kink of synchronicity and imbalance; The imbalance is reflected in the imbalance of the development of drama in the south and the north, the imbalance in the development of drama in the four major theater circles and outside the circle, and the imbalance in the development of drama within the "Pingyang theater circle". Synchronicity consists of three aspects. First, the south and north of the Song and Yuan dynasties, the southern Song and the Jin, as far as a dynasty is concerned, the development of drama is synchronic; Second, the "Binh Duong Drama Circle" is not an isolated existence, and the four major theater circles are relatively independent and influence each other; Third, within the "Binh Duong Drama Circle", the Binh Duong area, Ha Zhong area, and Luze area are generally synchronic in nature. Unbalance and synchronicity are twins. An art cannot be popularized overnight throughout the country, especially in an era when the means and ability of communication are still based on agrarian civilization, but it is first formed, developed, and sought after in some regions, and then spread to other regions. 8. We believe that the "trade" of Chinese drama should not be seen as stylized. "Trade" is seen in the traditional concept as the stylized embodiment of drama. We believe that "Xingdang" is only a general division of Chinese drama character categories, a concentrated embodiment of the wisdom of playwrights and artists, it is not a kind of character regulation, in the same "Xingdang", the character of the character may be very different, very inclusive; When the ancients skillfully divided "behavior", there was no specific theoretical expression of "character". Since personality is no matter what, how can we talk about "doing" as character? "Xingdang" is also an important symbol of the development of ancient Chinese drama. No matter how rich the pan-drama form of the pre-Qin Dynasty, it is impossible to say the division of "Xingdang", "Donghai Huanggong" is a gratifying germ of "Xingdang", and the joining army and the falcons of the Tang Dynasty military drama made "Xingdang" stand out and had a direct and significant impact on later generations, which is vice end and vice jing. The reason why we regard Song Jin as the formative period of ancient Chinese drama is dependent on the formation of its five to seven "trades". The original "trade" could not accommodate the rapidly expanding narrative needs of meta-dramas, so it had to break through the cocoon and derive a series of character trades, and the prosperous era of drama was just around the corner. 9. We believe that Song Jin is related to the role of the Yuan Dynasty, and there are essential differences. The role system of meta-miscellaneous dramas not only has the historical precipitation of Song Jin miscellaneous drama characters, but also has the innovative development of meta-miscellaneous dramas themselves. The setting of its characters is mainly arranged according to the needs of the plot, but in the process of arrangement, the basic framework of the characters of Song Jin's miscellaneous drama is used, and it is expanded and transformed on this basis. This is the essential embodiment of the difference between Yuan miscellaneous drama and Song Jin miscellaneous drama, the essential difference between Yuan miscellaneous drama and Song Jin miscellaneous drama in terms of role setting, and it is also the fundamental element of Yuan miscellaneous drama to break through the fixed style of "five-flower miscellaneous drama" and step into the vast and free world. Discovery is always limited, and research can only be limited; Discovery is always constant, and research is infinite. The overthrow of limited knowledge seems inevitable, and we wait for the overthrow, because this overthrow is mostly academic progress. Since it is unobtrusive, mistakes are inevitable, and abrupt places are expected to be corrected by the Fang family. Yao Yuguang at Shanxi Normal University in December 2011（AI翻译）