李开先曲论之贡献  

The contribution of Li Kaixian's Operatic Criticism

作　　者：刘恒[1] 

机构地区：[1]南京大学中文系,江苏南京210093

出　　处：《齐鲁学刊》2009年第6期127-131,共5页Qilu Journal

摘　　要：作为明嘉靖年间著名的曲学家,李开先的戏曲理论在中国戏曲批评史上占有重要地位。在戏曲功能方面,他认为戏曲是抒发悲涕慷慨抑郁不平之衷的工具,对戏曲功利观不无匡正;在戏曲本体论方面,他认为戏曲源远流长,南北有别,文辞尚俗,崇尚金元,对戏曲本色论有推波助澜之功;在戏曲演出上,重视演员、乐工、伴奏乐器对戏曲表演所起的重要作用,对强调场上之曲有所裨益。As a famous opera specialist, Li Kaixian＇s Operatic Criticism has an important position in the Operatic Criticism history. His Operatic Criticism includes three parts：First,he had an opinion that the opera was an tool to express feelings;See-ond,he regarded that the Opera had a long history, there were ifferences between North and South,and the Language of the opera should be Popular;Third,opera was not only paper Literature,the actor,the music and the Musical instruments aslo palyed the important role.

关 键 词：李开先 曲论 言情说 尚俗 舞台记载 

分 类 号：I207.37[文学—中国文学]