作　　者： ;

机构地区： 韩山师范学院中文系

出　　处： 《文化遗产》 2016年第2期95-104,共10页

摘　　要： 在故事层面,明戏曲《绣襦记》经历了从唐至明近700年的民间积累与文人创造。它有似于《琵琶记》的体大辞美,却没有像高明那样对原主题做巨大地改造,近于"荆刘拜杀"的生气勃发,却又比它们显得精于铺垫、文理细密。该剧民间色彩与文人创造俗雅并陈,表现出多重的面貌。"戏文"、"南戏"与"传奇"三个概念,"戏文"可指宋戏文,但更多与早期"南戏"(南曲戏文)意思一致。明嘉靖后文人大量参与戏曲创作,"南戏"改称"传奇",以别其俚俗。从《绣襦记》剧本形态的多面性可以看出:涵盖了文本、音律与旨趣三个维度的剧本体制,是"戏文"到"南戏",再到"传奇"演进的内在动力。从民间创造,到文人模拟,再到文人独创,三者在本质上并无截然的区分。 The creating of the text of drama Xiu Ru Ji had been continued for 700 years from Tang to Ming by both the folk and literati. It is rich and beautiful,lively and elegant,and had not changed too much in the theme. The folk essence and literati temperament both made it of multiple aspects. Xiwen refers to the early drama in the Song Dynasty,mostly has the same meaning as Southern drama. At the beginning of the period of Jiajing of the Ming dynasty,many literati began to write dramas. Southern Drama was renamed as Chuanqi for more elegant. From the morphological diversity of the text of Xiu Ru Ji,it can be found that the script systems,which including text,melody,and significance,is the chief strength led to the three names' evolution. There are no essential differences between folk creation,literati imitation and literati creation.

关 键 词： 戏文 南戏 传奇 绣襦记

领　　域： [文学]