论中国传统戏曲口头剧本的定型书写——兼谈建国后传统戏整理的得失  

The set written pattern of oral scripts of chinese traditional dramas——On gain and lose in collating chinese traditional dramas after 1949

作　　者：郑劭荣[1] 

机构地区：[1]长沙理工大学文法学院,湖南长沙410076

出　　处：《中南大学学报（社会科学版）》2014年第5期209-215,共7页Journal of Central South University：Social Sciences

基　　金：国家社科基金一般项目"中国传统戏曲口头剧本研究"(11BZW078);湖南省哲学社会科学基金项目"明清戏曲在湘西辰河戏中的遗存与嬗变研究"(13YBA013)

摘　　要：从口头到书面,从提纲戏到剧本戏,是民间戏剧的重要演进之途。提纲戏与剧本戏之间存在几种过渡形态,它们是口述剧本定本化、书面化的关键环节;其定型书写具有多种渠道,有的属于戏剧演进的自然现象,有的是人为干预的结果,现代科技也在推波助澜。1949年后,在政府文化部门的主导下,广泛开展传统剧目的发掘,大量的口述本被记录整理为文学本,客观来看,这一文化工程既取得了可观的历史功绩,也有一些值得检讨的地方。From oral to written form, from improvisational plays to written ones, that is the evolvement way of traditional opera. There are several transition styles, and they are the key links of improvisational play falling into a pattern and written form. There are various ways to set the oral scripts, some are natural phenomenon of evolution of plays, and some are the results by human interference and modern technology. After 1949, the cultural sector has excavated the traditional Chinese drama, and sorted out a lot oral scripts, carrying on objective appraisal to the cultural action and has achieved we won the great results while making people rethink profoundly.

关 键 词：口述剧本 提纲戏 定型 书面化 

分 类 号：I207.39[文学—中国文学]