李开先曲论之贡献  

The Contribution of Li Kai-xian'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：《徐州工程学院学报（社会科学版）》2010年第5期71-75,共5页Journal of Xuzhou Institute of Technology：Social Sciences Edition

摘　　要：作为明嘉靖年间著名曲学家,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,认为戏曲源远流长、南北有别,文辞尚俗、崇尚金元,对戏曲本色论推波助澜;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。The operatic criticism of Li Kai-xian,a famous opera specialist in the years of Jiajing of Ming Dynasty,occupies an important position in the history of operatic criticism.His operatic criticism includes three parts： First,he considered opera not utilitarian but a tool to express sadness,pride,frustrations and rage;Second,he thought that in the opera＇s long history of development,there formed some difference between the North and the South,and the Language of the opera should be popular language in Jin and Yuan Dynasties;Third,opera was not only paper literature,the actor,the music and the musical instruments were all important to the presentation of opera.

关 键 词：曲论 言情说 尚俗 舞台记载 

分 类 号：I207.37[文学—中国文学]