车王府曲本中的“打朝戏”研究  

Study on “Dachao Play” in Opera Scripts in Che's Residence

作　　者：谢实东 王政[1] XIE Shidong;WANG Zheng(College of Liberal Arts,Huaibei Normal University,Huaibei 23500,China)

机构地区：[1]淮北师范大学文学院,安徽淮北235000

出　　处：《皖西学院学报》2018年第3期149-153,共5页Journal of West Anhui University

基　　金：国家社科基金重大项目(11&ZD107)子课题"花部戏曲文献研究"

摘　　要："打朝戏"是花部戏的有机组成部分,有广阔的叙事视域和独特的叙事模式。从结构上看,虚实结合的建构模式和二元思路,拓展了艺术创作的空间;从矛盾冲突看,反映了君臣、正邪之间的对立,其实质是儒学士人和皇权在道统上的冲突。"打朝戏"的产生与繁盛,亦是清代汉学与宋学相互争夺正统地位作用下的结果。对"打朝戏"进行研究,以期深化对清代花部戏的认知。＂Dachao Play＂ is an integral part of the Huabu Play, with a wide range of narrative and unique narrative mode. From the structure, the construction mode and the binary idea of the combination of virtual reality expand the space of artistic creation. From the contradiction conflict, it reflects the antagonism between the emperor and the good and evil, and the essence of it is the conflict between the scholar and the imperial power in the Taoism. The emergence and prosperity of the ＂Dachao Play＂ is also the result of the competition between the scholarship of Han and Song in the Qing Dynasty. The study of ＂Dachao Play＂ aims to deepen the cognition of the flower part of Qing Dynasty.

关 键 词：“打朝戏” 叙事结构 冲突模式 二元论 

分 类 号：I207.36[文学—中国文学]