明清戏曲活动中士人与伶人交游及其关系管窥  

A Study of the Relationship between Scholars and Actors in Drama Activities in the Ming and Qing Dynasties

作　　者：杨金柱[1] 李玫[1] YANG Jinzhu;LI Mei(Department of Litcraturc, Graduatc School of Chincsc Academy of Social Scicnccs, Beijing 102488, China)

机构地区：[1]中国社会科学院研究生院文学系,北京102488

出　　处：《信阳师范学院学报（哲学社会科学版）》2018年第3期111-117,共7页Journal of Xinyang Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社科基金项目(16BZS035)

摘　　要：明清时期,随着政治和社会形势的变化,在荣辱沉浮的巨大落差中,一批怀才不遇、落拓而归的士人与伶人群体在创作、搬演和戏班经营中,因与伶人相似的生存境遇和抒愤寄托的心理背景,便由传统的主仆从属关系发展为心灵知音、命运共同体和新型商业关系。部分士人甚至主动选择与优伶为伍,而伶人为提升自己的戏曲品味和文化素养,或是寻求改变其贱业乐籍的出身困境,主动向士人靠拢,士与伶的关系定位、身份界限逐渐模糊甚至出现角色互融与转换。During the Ming and Qing Dynasties,with the change of political and social situation of the Manchu taking over the Central Plains,scholars in the ups and downs,agroup of talents,the return of the poor scholars and actors in the creation,the troupe and group management,transferred from the traditional and subordinate relations to heart bosom friends,a community with a common future and new business relationship,mainly thanks to deep Teaser similar survival situations and hoping to express their anger.Some scholars even associate actively with some actors;meanwhile,some actors,in order to improve their taste in opera and culture,seek to change the plight of the low occupation and make close relationship with the scholars,thus the relationship between them and their identity became gradually blurred.

关 键 词：明清戏曲 士人 伶人 角色 地位 交游 转换 

分 类 号：J607[艺术—音乐]