论元代北曲杂剧的“散曲意识”  

On the "Sanqu Consciousness" of Northern Zaju in Yuan Dynasty

作　　者：赵璐[1] 甄洪永[1] 

机构地区：[1]山西师范大学,山西临汾041000

出　　处：《吉林艺术学院学报》2015年第3期48-50,47,共4页Journal of Jilin University of Arts

摘　　要：散曲和北曲杂剧相似的文体特征和两者在产生流传中的相互交融,使北曲杂剧作品中常带有明显的散曲意识。作家、受众以及戏曲理论家,都将"曲本位"作为评骘北曲杂剧水平高下的重要标准。从作家方面看,散曲与北曲杂剧有相互交集的作家群体;从文本上看,中国文学的抒情和叙事两大传统在散曲和北曲杂剧中产生了激烈的碰撞。以上诸因素共同促进了戏曲曲词渐渐走上了散曲化的道路。The similar stylistic features between Sanqu and Zaju and the interaction during their spread cause the appearance of distinct consciousness of Sanqu in Northern Zaju works. All of the writers, audiences and theorists of traditional opera consider ＂Qu Origination＂ as an important standard of evaluating Zaju in the north. From the writer＇s point of view, there existed mutual writers of Sanqu and Zaju. While from the text, lyrical and narrative tradition in both produced fierce collision. The above factors promote the lyric of traditional opera gradually stepped on the road of Sanqu.

关 键 词：北曲杂剧 散曲 散曲意识 

分 类 号：J209.9[艺术—美术]