古戏台设腔助声技术的演进研究——以新发现的系列设腔实例为重点

The sound reinforcement by cavity of ancient opera stage originated from the skill of defending the city by urn in the warring states period, which hosted the many experiment of urn assisted sound technology by the ancients, built a monument to the acoustical culture of traditional Chinese architecture and made remarkable achievements in science and technology. Having several kinds of pottery urns similar to the Helmholtz resonators on the walls of the mountain surface fire seal on either side of the performance area, among them, a living example of was regarded as the fine art of ancient technique in the acoustical practice of ancient stage. However, it has been demolished in 2012 because of the local people ignored its acoustical value. How high is the acoustical value of setting urn on the wall? How did the ancients try to set up a cavity? What are the motivations for their constant attempts? This project is based on the discovery of more than 200 ancient opera stages which have the technology of sound reinforcement by cavity in recent years. Through the acoustic measurement and simulation experiments, quantitative analysis the influence of the different cavity on the actor and the audience. In order to restore the development of the ancient stage and the process of urn assisted sound technology. We hope to open the window on the world of Chinese traditional architectural acoustics culture, to speed up the process of national cultural renaissance. At the same time, it also provides a reference for the rescue protection of the ancient stage and the natural sound design of contemporary performing architecture.

源于战国时期设瓮守城技术的设腔古戏台，承载了古人诸多设腔助声实验，铸就了中华传统建筑声学文化的丰碑，取得了令世人瞩目的重大科技成果，从而成为传统文化面向世界的窗口。其中的墙上设瓮实例，因其表演区两侧的山面封火墙上设有多个形状与亥姆霍茨共鸣器类似的陶瓮，堪称古代设腔技术在古戏台声学实践中科学应用的精品，然却因其声学价值研究的缺位导致民众乃至文保部门对其缺乏科学认识而于2012年惨遭拆除！墙上设瓮实例的声学价值到底有多高？古人为此还进行了怎样的设腔尝试？其不断尝试的动因又是什么？本项目基于近年发现的两百余座设腔助声古戏台，通过声学测量和仿真模拟实验，以量化分析其不同形制的腔体对演员和观众的影响，从而还原古戏台设腔助声技术的递嬗历程，诠释其声境文心的旨趣，打开中华传统建筑声学文化面向世界的窗口，加快民族文化复兴的进程，同时也为古戏台的抢救性保护和当代观演建筑的自然声设计提供参考。

古戏台作为承载戏曲表演的固定建筑，具有特殊且卓越的声学效应，但部分因其声学价值研究的长期缺位导致民众乃至文保部门缺乏科学认识而惨遭拆除；此外，其墙上设瓮、台下设瓮等设腔技术（源于战国时期的设瓮守城技术）能否有效扩声也在学界引起较大争议。本研究不禁想问：设腔助声技术的实用性到底如何？墙上设瓮实例的声学价值到底有多高？又因古戏台面临着遗存数量多、分布范围广、保护难度大等问题，由此，古戏台设腔助声技术的演进研究亟不可待。.本项目基于近年新发现的几百座设腔古戏台，对其遗存实例进行了田野调查与声学实测研究，耙梳了空腔的类型、声学特性及发展演变脉络，分析了其声效对演员和观众的影响。 具体来说，对古戏台从声学视角进行重新分类，并深入剖析了其匾联的声学内涵、四圣宫舞楼的断代问题、民俗型音乐活动的噪声偏好等问题，还采用声学实测法对平遥超山庙古戏台、平遥真武庙“开字形”古戏台、碛口黑龙庙山门古戏台、汾阳龙天庙古戏台、介休源神庙鸣玉楼古戏台、平遥关帝庙古戏台、北京钟楼等诸多声学建筑的助声、助音原理进行分析，并将新绛县稷益庙作为反例剖析了古戏台面阔不宜过大的声学原因。.此外，本项目采用COMSOL多物理场仿真软件对已被拆除的古戏台进行三维还原，通过频域计算分析墙上设瓮的声场；还基于时域有限差分法，使用Matlab软件建立了有耗介质声场模型，分析了介休后土庙献楼八字墙的角度、损耗因数等在频域上对戏台声场表演的影响。申请人在与万钟如、曾宪林、刘健等专家不断交流、实地考察中凝练得出“表演声环境”这一学术概念，从而开启了研究表演演出与声学与的新视角。.总而言之，本项目从理论和实验层面助于止息“设腔助声”的争论，并深挖出古戏台的科学价值、社会价值、历史价值和艺术价值，为其科学保护提供理论参考，不仅引起相关部门的的重视，而且助益当代观演建筑的自然声设计，有利于再造中国建筑文化特色，提高文化自信。