晚明戏曲本色论对阳明心学的继承  

Inheritance of Yangming's Innate Knowing Philosophy from the Distinctive Character Theory of Traditional Chinese Opera in the Late Ming Dynasty

作　　者：周立波[1] 

机构地区：[1]浙江艺术职业学院学报编辑部

出　　处：《浙江艺术职业学院学报》2016年第1期18-25,共8页Journal of Zhejiang Vocational Academy of Art

基　　金：2015年度浙江省哲学社会科学规划课题<晚明浙东戏曲研究>阶段性成果;(项目编号:15NDJC301YBM)

摘　　要：阳明心学对戏曲本色论的影响并非直接的,而是借助一定的桥梁,对其产生影响;而这一桥梁正是晚明阳明后学者们缤纷斑斓的思想观念。由"致良知"和"知行合一"理论派生出来的各家理论,较之王阳明的学说,则更加重视对自然状态的认识,更加重视对本我内心的体验,更加重视思想的共通性和共融性。而这些正是晚明戏曲本色论的特质。从表面来看,晚明的戏曲本色论只是对戏曲语言的规范,只是要求语言的通俗化;但从深层意义上来看,晚明的戏曲本色论已远远超出其表面意义,是对晚明戏曲的总体认知,既是对戏曲这一艺术形式的宏观体认,更是对晚明这一历史时期的文化的解读与革新。The influence of Yangming＇s innate knowing philosophy on the distinctive character theory of traditional Chinese opera is not direct,but with the help of certain bridge,which are the colorful ideas of Yangming＇s scholars in the late Ming dynasty. Comparing with Wang＇s philosophy,various theories derived from the ＂conscience＂and＂combining knowledge and action＂theories have more emphasis on the awareness of natural state,pay more attention to inner experience and pay more attention to the commonality and combination of ideas,which are the essence of the distinctive character theory of traditional Chinese opera. Superficially,the theory is just the specification of opera language and the popularization of language; but in a deeper sense,it is the overall understanding of opera in the late Ming dynasty. It is the macro understanding of the art form traditional opera,and is also the interpretation and innovation of the culture of the late Ming dynasty.

关 键 词：晚明戏曲 本色论 阳明心学 阳明后学 

分 类 号：J80-02[艺术—戏剧戏曲]