从全本戏到折子戏--对《牡丹亭》改编的传播学解读  

From Full-Length Play to Zhezi Xi:An Interpretation of Adaptations to Peony Pavilion from a Perspective of Communication

作　　者：王省民[1] 

机构地区：[1]东华理工学院中文系副教授

出　　处：《戏剧（中央戏剧学院学报）》2008年第2期118-125,共8页Drama:The Journal of the Central Academy of Drama

基　　金：江西省高校人文社会科学研究项目,项目批准号:YS0508

摘　　要：全本戏和折子戏是明清戏曲在舞台演出中的两种主要形式,这两种形式在康乾盛世实现了转换。本文以《牡丹亭》的改编为研究对象,对其改编形式进行传播学的解读,并探讨两种改编形式的转换与明清戏曲传播之间的内在关联,帮助我们更好地认识明清戏曲发展的情况。In the Ming and Qing Dynasties, theatre performances took two major forms： full-length play and zhezi xi （selected scenes）. During the reign of Kangxi （ 1662 - 1722） and Qianlong （1736- 1795） of the Qing Dynasty, a shift took place and zhezi xi became more popular. This paper is meant to explore this shift and its inter-relations with the spread of drama during the period in question, in order to provide a better view over the development of theatre in the Ming and Qing Dynasties.

关 键 词：改编 《牡丹亭》传播 折子戏 全本戏 

分 类 号：I207.3[文学—中国文学]