明代戏曲思想的流变  

The Evolvement of Thought on Opera in Ming Dynasty

作　　者：段金龙[1] 

机构地区：[1]山西师范大学戏曲文物研究所,山西临汾041004

出　　处：《天水师范学院学报》2013年第5期103-106,共4页Journal of Tianshui Normal University

摘　　要：明代戏曲创作,是我国戏曲史上继元杂剧之后的又一高峰,它的戏曲思想以教化论和主情论为主,其流变大致经过了教化论的高扬——教化论的极致表达——主情论的提出以及对教化论的反拨——主情论的泛化与恶性张扬——向教化论的适当回归几个阶段。The opera ＇creation in Ming Dynasty marks another peak after zaju during Yuan Dynasty in China＇ s opera history. Its operatic idea is mainly supposed to be enlightenment and sentiments. The evolvement has undergone the following stages： exalted indoctrination theory; extreme expression of enlightenment; sentiments----put forward and oppose against enlightenment; and appropriate return to enlightenment ideas.

关 键 词：明代戏曲思想 教化论 主情论 流变 

分 类 号：I237.1[文学—中国文学]