明杂剧分期论  

Periodization of Drama in Ming Dynasty

作　　者：徐子方[1] 

机构地区：[1]东南大学艺术学院,江苏南京210018

出　　处：《艺术百家》2011年第3期162-168,134,共8页Hundred Schools In Arts

基　　金：2005年度全国艺术科学"十五"规划课题"明杂剧通论"(项目编号:05DB099)阶段性成果之一

摘　　要：笔者曾认为,宫廷化和文人化作为杂剧入明后两次重大转型决定了明杂剧历史分期的基本走向,这一点目前已为学术界所接受。但严格说来,转型和分期又并非完全等同,后者乃前者之进一步深化,必须考虑更为细致的问题要素。根据戏剧观和剧场性质的不同,明杂剧可分为三个时期。前期为洪武开国至宪宗成化前,表现特征为宫廷北杂剧由盛转衰。中期为孝宗弘治至世宗嘉靖,表现特征为文人南杂剧的产生和形成。后期为穆宗隆庆至明亡,特征为杂剧复古与昆曲杂剧的兴盛。整个清代乃至近代吴梅等人的杂剧作品,共同构成了昆曲杂剧的全貌,事实上也就继承了明杂剧的发展演变的传统和整体趋势。It has already been acknowledged by academia that as significant transmutations, court tendency and literati tendency determined the basic tend of periodization of drama in Ming dynasty. However, in a more rigorous sense, transmutation does not necessarily mean periodization, therefore there are more delicate problems being regarded. Drama in Ming dynasty could be staged into three periods. Firstly, from Hongwu to Chenghua, northern drama of royal court began to decline. Secondly, from Hongzhi to Jiajing, literati southern drama came into being. Thirdly, from Longqing to the late Ming dynasty, classic drama revived, and Kunqu began to spread. Drama throughout Qing dynasty and masterpieces ascribed to Wu Mei together composed the whole looking of Kunqu, and in fact was a further development of Ming drama.

关 键 词：戏曲艺术 艺术史 明王朝 杂剧史 发展 分期 

分 类 号：J809.9[艺术—戏剧戏曲]