自由与包容——论明代南杂剧的体例  

Freedom and Inclusiveness——On the Style of the South Zaju

作　　者：王永恩[1] 

机构地区：[1]中国戏曲学院戏剧文学系

出　　处：《戏剧（中央戏剧学院学报）》2014年第5期104-114,共11页Drama:The Journal of the Central Academy of Drama

基　　金：教育部课题<中华戏剧通史>的阶段性成果;项目编号为10JZD0009

摘　　要：明代兴起的南杂剧一扫北杂剧的拘谨和刻板,以自由包容的形式为杂剧创作开创了一条崭新的发展道路。南杂剧在音乐体制上虽以南曲为主,但也并不排斥北曲,还形成了南北合套的音乐结构方式并拥有多种演唱形式;在剧本结构上,南杂剧以短小精悍见长,不再以讲述一个完整的故事为目标,而以抒发心志为己任,洋溢着浓郁的文人气息。灵活开放的体例使得南杂剧的创作充满了生机。The rise of the South Zaju in Ming Dynasty gets rid of the stiffness and rigidity of the North Zaju,with the free and inclusive form of the South Zaju,it opens a new way for further development of Zaju.Actually,the music system of the South Zaju is based on the Southern Tunes,and it also does not keep itself away from Northern Tunes.At the same time,it develops a new music structure,which combines the tunes from both the South and the North,and owns a variety of singing patterns.On the other hand,the script structure of the South Zaju is short and pithy.Instead of telling a complete story,the South Zaju mainly expresses the feelings and the aspirations of the characters,which is filled with strong literati atmosphere.So,the flexible and open style of the South Zaju brings about great vitality to the creation of South Zaju.

关 键 词：南杂剧 北杂剧 体例 

分 类 号：I207.3[文学—中国文学]