CAJ | 학술논문

清宫在清末盛演三国戏，除了其政治军事价值、“关羽崇拜”的政治凝聚力、皇族对戏曲的喜爱及三国戏自身的丰厚积累等外部原因，更在于昆、京剧种特色的差异以及花雅之争中花胜于雅的结果。综合戏曲史、接受史和清宫演剧史来看，清末盛行三国戏不是一个偶然现象，而是与戏曲发展演变史息息相关，与京剧剧种特色和演员个人才华有关，是民间观剧时尚、欣赏口味的变化在宫庭中的投射。
청궁재청말성연삼국희，제료기정치군사개치、“관우숭배”적정치응취력、황족대희곡적희애급삼국희자신적봉후적루등외부원인，경재우곤、경극충특색적차이이급화아지쟁중화성우아적결과。종합희곡사、접수사화청궁연극사래간，청말성행삼국희불시일개우연현상，이시여희곡발전연변사식식상관，여경극극충특색화연원개인재화유관，시민간관극시상、흔상구미적변화재궁정중적투사。
The reason for the prevailing of Three-Kingdom dramas in late Qing Dynasty palace lies not only externally in its political and military value, political cohesion from Guanyu Worship, favor of the royal family, abundant accumula-tion of itself, but also in the characteristic diversities between Kun and Beijing operas, the winning of Hua genre in Hua-Ya Battle. Considering the history of drama, acception and drama performances in Qing Dynasty palace, it is not an accidental phenomenon but a close link to the evolution of dramas, to character of dramatic genre and actors’ individual talent, reflecting folk taste in drama appreciation and its change.