汤显祖《牡丹亭》与澳门宗教文艺  

Tang Xianzu's Peony Pavilion and Macao Religious Literature and Arts

作　　者：黎羌[1] 

机构地区：[1]陕西师范大学文学院,陕西西安710062

出　　处：《艺术百家》2014年第3期150-156,共7页Hundred Schools In Arts

基　　金：2010年度教育部哲学社会科学研究重大课题攻关项目"中华戏剧通史"(项目编号:10JZD0009)阶段性成果之一

摘　　要：明代著名戏曲作家汤显祖在晚年直谏贪官、触犯朝纲,被贬谪岭南,但因祸得福游历了雷州半岛与澳门,并将对当地宗教文化的奇妙感受写进了后来创作的经典戏曲《牡丹亭》之中。深究此剧作宗教文化因素产生的根源与演绎过程,与汤显祖年轻时虔诚地崇奉佛道教义,年长时思想开放与深化,从而对中西汉胡戏剧文学报以积极吸纳态度与身体力行有关。他到澳门的游历经历和在肇庆与欧洲传教士利玛窦的会面更加开拓了他的国际宗教文化视野。但是受时代因素的影响,他的剧作在具体运用异地文字方面亦不可避免地存在猎奇、错讹之瑕疵,其原因值得深究。As one of the famous dramatist in Ming dynasty, in his late years, banished to Lingnan, Tang Xianzu traveled Leizbou Peninsula and Macao. He wrote his fantastic sense towards exotic religious culture into Peony Pavilion. And this became a significant historical attestation of the literal communication between China and Portugal. His tour in Macao and his meet with European cleric Matteo Ricci further expanded his international religious vision. However, impacted by times, his application of exotic characters sometimes is wrong.

关 键 词：戏曲艺术 澳门 明传奇 《牡丹亭》 宗教文艺 

分 类 号：J80[艺术—戏剧戏曲]