明清戏曲与女性角色  

作　　者：叶长海[1] 

机构地区：[1]上海戏剧学院 教授

出　　处：《戏剧艺术》1994年第4期77-88,共12页Theatre Arts

摘　　要：明代后期,许多戏曲作品极鲜明地表现了女性的独立人格和人生价值,并反映了有关女性的各种社会问题。丰富多彩的戏曲活动,吸引了女性作家直接参与创作。她们的剧作大多写女性的才干和情爱,以此来表现她们的自尊和对自由幸福生活的追求。明清戏曲中出现了如花木兰、杜丽娘、李香君等许多著名角色,同时有更多不知名的女性角色,她们共同构成了绚烂的艺术人物画廊,给历代读者和观众传达了古代妇女的情感心态,表达了她们的生活感受和她们的理想企盼。During the late Ming Dynasty, many works of opera distinctively demonstrate individuality and individual value of females and at the same time reveal various social problems concerning women. Numerous dramatic and operatic activities attract female playwrights to participate in artistic creation. They write mostly about women, their talent and their emotion and love to express their self -respect and their aspiration to freedom and happiness. Many well - known roles, such as Hua Mulan, Du Liniang, Li Xiangjun ect. have appeared in Ming-Qing operas. There are also many more less -known female roles who have formed a rich and colourful art gallery which has conveyed to readers and audiences the emotions, mentality, life experience and ideals of women in ancient times.

关 键 词：《牡丹亭》 明清戏曲 女性角色 《吴吴山三妇合评牡丹亭还魂记》 女性作家 女作家 戏曲作品 明末清初 女剧作家 女子 

分 类 号：I207.3[文学—中国文学]