代言体弹词对戏曲的借鉴及其叙事特点  

The Narrative Features of Dialogue Tanci and the Reference from the Opera Form

作　　者：童李君[1] 

机构地区：[1]苏州市职业大学教育与人文学院,江苏苏州215104

出　　处：《常熟理工学院学报》2017年第6期22-26,共5页Journal of Changshu Institute of Technology

基　　金：2015年度教育部人文社会科学研究一般项目"民国弹词研究"(15YJC751038);2013年度国家社科基金重大项目"百年中国通俗文学价值评估;阅读调查及资料库建设"(13&ZD120)

摘　　要：代言体弹词的形式在之前的说唱艺术中已经孕育,但戏曲的成熟使它有更多的营养可以汲取,并最终被认为是弹词正宗。弹词与戏曲除了形式上有其类似之处外,在内容上也互相借鉴。它们的优秀篇目往往相互改编。从改编中我们可以体会到弹词与戏曲在处理相同题材、同一故事情节时的不同方法,从而也显示出了弹词与戏曲各自的特点。The form of dialogue Tanci has been conceived in the previous arts of talking and singing, but the maturity of the opera makes it more nutritious to be drawn and eventually considered to be authentic. The excel-lent articles of the Tanci and operas are often adapted to each other, from which we can understand the diferent ways of constructing the same subject matter and the same story in the Tanci and operas, thus showing their re-spective characteristics.

关 键 词：代言体 弹词 戏曲 特点 

分 类 号：I239.1[文学—中国文学]