古典戏曲副末开场中“家门”的存在原因探析  

Causes Analysis of Opening Monologue(Jia Men) by Supporting Actor(Fu Mo) in Classical Chinese Drama

作　　者：刘二永[1] 

机构地区：[1]山西师范大学戏剧与影视学院,山西临汾041000

出　　处：《艺术探索》2016年第5期101-104,共4页Arts Exploration

基　　金：国家社会科学基金后期资助项目"中国古典戏曲批评范畴研究"(12FZW003);教育部人文社会科学研究青年基金项目"中国古典戏曲品评观念研究"(12YJC760043)

摘　　要："家门"是南戏及传奇副末开场中叙述剧情梗概的一支曲词,它的存在贯串副末开场的始终,是副末开场中不可缺少的部分。"家门"对全剧的整体性概括或对当天所演剧情的概括,既体现了"由总到分"的整体性叙事意识,也反映了观众整体性认知意识,克服了南戏及传奇因剧情过长而影响观众对整体性把握的困难。作为副末开场中必不可少的一部分——有时甚至独占开场,"家门"能起静场和吸引观众的作用。其叙述者是副末,作者借副末之口开章明义,流露创作意旨,并通过对全剧的概括使其成为正文叙事之"法",决定并导引着全文的叙事。As an indispensible part in the opening section of legends and dramas in Southern China, opening monologue （Jia Men） makes a summary of the drama or the presented part in an introduction-elucidation narrative structure, preparing the audience for the lengthy performance as awhole. The opening monologue （Jia Men） by supporting actor （Fu Jiang） sometimes stands on its own as the opening section serves as a draw for the audience. The composer deliberates on his ideas about the pieces by way ofthe opening monologue by the supporting actor, which sets the tone ofthe narration for the drama as a whole.

关 键 词：副末开场 “家门” 场上 叙事 作者视角 正文指引 

分 类 号：J809.2[艺术—戏剧戏曲] I207.37[文学—中国文学]