明代的戏曲美学论争  

Theatre Aesthetics Debate in Ming Dynasty

作　　者：祁志祥 QI Zhi - xiang(Research Institution of Chinese Ancient Civilization Studies, Shanghai Institute of Political Science and Law, Shanghai 201701)

机构地区：[1]上海政法学院应用社会科学研究院,上海201701

出　　处：《艺术百家》2017年第4期169-182,219,共15页Hundred Schools In Arts

基　　金：2005年度国家社会科学基金一般项目"中国古代美学史的重新解读"(项目编号:05BZW010)阶段性成果之一

摘　　要：明代中后期,戏曲批评出现了本色论、情趣论、折中论的相互论争。本色论主张戏曲创作要符合表演的"本色"要求,在曲词上"明白而不难知",可入乐合律。情趣论崇尚戏文的"意趣神色",为了案头可观,"不妨拗折天下人嗓子"。它们各执一词,互有得失。折中派兼取两派的长处,批评两派的不足,主张戏曲创作"雅俗并陈、意调双美",既"可演之台上,亦可置之案头",将明代戏曲美学提高到一个新的水平。In middle and late periods of Ming dynasty, there appeared debates among ＂ true quality＂ , ＂ interest ,ana discourses comprising and combining those two in theatre criticism fields. ＂ True quality＂ discourse states that opera creation should be easy to understand in Quci. ＂ Interest＂ discourse advocates the implied meaning and literature charm. Discourses that comprise and combine the two learns from their advantages and offsets their disadvantages, and states that opera creation should be both elegant and popular and be beautiful both in connotation and music, which promoted opera aesthetics to a new proficiency.

关 键 词：戏曲艺术 中国戏曲美学 典雅与当行 本色与文调 达情与协律 

分 类 号：J80[艺术—戏剧戏曲]