从剧诗到单折戏——论明杂剧对文学体裁的两个贡献  

From Dramatic Poems to One-act Dramas——On the Two Contributions of Za Ju to Literary Genre in Ming Dynasty

作　　者：徐子方[1] 

机构地区：[1]东南大学戏曲小说研究所,江苏南京210096

出　　处：《江苏大学学报（社会科学版）》2007年第2期62-66,共5页Journal of Jiangsu University(Social Science Edition)

基　　金：全国艺术科学"十五"规划课题(05DB099)

摘　　要：剧诗归根结蒂属于诗,衡量剧诗的标准只能是诗,不以赋形舞台为直接目的。中国古代最典型的剧诗便是明代文人南杂剧,它们中虽多有被称为不能施之场上的案头剧,一直被戏曲史界所轻视,但视作诗歌却自有创新之处。另一方面,明代开始形成并成熟的单折戏,直到清代都不断有人创作和演出。它们的共同特点就在于选题严肃、线索分明、结构紧凑,自始至终为一个完整行动所贯穿,且具有一定的广度和长度,自成一个整体。从这个角度来说,单折戏即可以被看作近代意义上的独幕剧。以写意抒情为宗旨的剧体诗及中国式独幕剧的诞生,标志着中国古代文学体裁领域的新突破,明杂剧作家在这方面所作的努力是值得肯定的。Drama poems, after all, are poems, so the criterion for them can only be that for poems rather than that for performance on stage. The most typical dramatic poems are the Southern Za Ju created by Ming literati, many of which are called desk dramas and looked down upon by performers because they can not be performed on stage, but actually are not without innovations as poetic creations. On the other hand, the one-act dramas, which were born and matured in Ming Dynasty, continued to be written and put onto stage. What are common in these plays are their serious theme, clear clue, dense structure, a complete action as thread, a certain width and length, all together making a one-act drama into an artistic whole. So, this kind of play can be seen as the one-act play in the modern sense. In a word, the birth of dramatic lyrics and the Chinese-style one-act drama indicated a breakthrough in ancient Chinese genres and the efforts by Ming Za Ju playwrights should be approved.

关 键 词：明杂剧 诗剧 剧诗 单折戏 独幕剧 

分 类 号：I207.3[文学—中国文学]