叙事的意境——梁廷枏戏曲意境论及其对近代戏曲家王国维和吴梅的影响  

Narrative Bourn——The Study on LIANGTing-nan's Traditional Opera Bourn Theory and its Effects on Traditional Opera Theorists WANGGuo-wei and WUMei during the Modern Era

作　　者：曹艳华[1] 

机构地区：[1]定西师范高等专科学校中文系,甘肃定西743000

出　　处：《甘肃高师学报》2014年第6期12-16,共5页Journal of Gansu Normal Colleges

基　　金：2013年定西师范高等专科学校项目"晚清民国戏曲意境论研究"

摘　　要：清代中后期的戏曲理论家梁廷枏在他的理论著作《曲话》里,认为戏曲应该考虑戏曲代言体的特征并"设景生情",追求情在意中、意在言外、含蓄不尽的意境,对"叙事"这种构成戏曲意境的重要组成成分着重进行了论述与强调。从接受者角度,他认为戏曲"韵味"是叙事中语言与情感的结合,并关注情节结构,重视结尾、演出等场上、场外各方面的追求,这些总结和论述启发和影响了近现代的戏曲理论大师王国维、吴梅等对戏曲意境的认识,具有较高的意义和价值。Liang Tingnan who lived in later Qing Dynasty advocated that traditional opera language should set scenes to create feelings and pursue an connotative bourn that feelings among meanings, meanings beyond language.He discussed and stressed the importance of narrative which was the important part of bourn.Form the identity of receiver, he also thought that Artistic flavor was traditional opera Bourn＇s one manifestation of language, feelings, plot structure, performance and so on.Those summaries and discussion enlightened and affected Traditional Opera Theorists WANGGuo-wei and WUMei＇s viewpoints during the Modern Era and had high value and meanings.

关 键 词：代言体 意境 叙事 韵味 接受者 场上 场外 

分 类 号：I207.37[文学—中国文学]