明杂剧作家论  

On the Zaju Writers in the Ming Dynasty

作　　者：徐子方[1] 

机构地区：[1]东南大学戏曲小说研究所,江苏南京210000

出　　处：《江苏师范大学学报（哲学社会科学版）》2013年第6期30-38,共9页Journal of Jiangsu Normal University：Philosophy and Social Sciences Edition

基　　金：国家社科基金课题"脉望馆钞校本古今杂剧整理与研究"(项目编号:13BZW085)的阶段性成果之一

摘　　要：明杂剧作家呈现出以下特点:身份地位上表现为宫廷剧作家向文人剧作家的转型,地域分布上显示为早期遍布全国,中期由北而南,后期南方独擅的过渡。其创作心态和价值选择则较复杂,显示出一种新趋势,明杂剧作家大多兼作散曲和传奇,同时又为诗文作家以及经史研究家,对他们来说,创作道路较之元代要复杂得多,其价值观是多元的,杂剧创作并非其毕生唯一的追求。这实际上体现出明以后文人作家生活道路和价值观方面的共同特点,也可视为明杂剧创作成就总体上不如元杂剧的重要原因之一。The Zaju writers in the Ming Dynasty express the following characteristics： they transformed from palace Zaju writers to the writers of literati drama in their identities ; they were everywhere of the country at early period, then they moved from north to the south, and settled in the south during the late period. Their creative mind and value choice were complex, indicating a new trend. The Zaju writers in the Ming Dynasty also wrote Sanqu and legends and at the same time they were prose writers and histo- ry researchers. For them, the creative road was more complex than that of the Yuan Dynasty, and their values were multiple, so Zaju creation was not their only choice in their life, which shows the common characters of writers＇life road and values after the Ming Dynasty, and the reason why the achievement of Ming Zaju creation was less than the achievement in the Yuan Dynasty.

关 键 词：明杂剧 宫廷杂剧 文人剧 剧作家 

分 类 号：I207.37[文学—中国文学]