论《六十种曲》所收硕园改本《牡丹亭》  

Peony Pavilion in Collection of Opera Texts

作　　者：马衍[1] 

机构地区：[1]徐州工程学院教育科学与技术学院,江苏徐州221008

出　　处：《东南大学学报（哲学社会科学版）》2013年第4期74-79,135,共6页Journal of Southeast University(Philosophy and Social Science)

基　　金：国家社科基金项目"六十种曲研究"(11BB018)成果之一

摘　　要：明代著名戏曲家汤显祖的《牡丹亭》一问世即产生轰动,各方争相传演,但其55出的长度及部分曲词的不合音律制约其舞台搬演,也招致了一些批评。一些文人开始尝试改编《牡丹亭》,汤显祖对"吕玉绳"的改订极为反感,认为其破坏了作品的"意趣"。后来臧晋叔、徐日曦(即硕园)、冯梦龙等对《牡丹亭》进行了改编,以适于舞台演出。文人大多对改本持否定态度,有些批评还相当尖锐。硕园改本以删和调整为主,同时精心设计,以突出主线,使情节更为紧凑,宾白更具生活化和口语化,且尽可能保留、凸显汤氏原作"意趣"。硕园的努力是卓有成效的,明末最重要的传奇选本——毛晋编选的《六十种曲》,选录汤显祖的《牡丹亭》,也将硕园改本《牡丹亭》收入,其原因当与此有关。Peony Pavilion written by Tang Xianzu,a famous playwright in the Ming Dynasty,became a great hit on publication.Though acclaimed as the Best drama in the Ming Dynasty,it was criticized for its script unsuitable for performance.Some scholars such as Lyu Yusheng,Zang Jinshu,Xu Rixi and Feng Menglong adapted the play for stage performance.The adaptations received unfavorable responses and even harsh criticism from most literary intellectuals.However,Xu Rixu’s adaptation kept the original flavor of Tang’s style to the most degree,which can be considered a reason for its inclusion in Collection of Opera Texts.

关 键 词：《牡丹亭》 《六十种曲》 硕园改本 特色 价值 

分 类 号：I207.37[文学—中国文学]