明代戏曲史上“临川派”相关问题新证——以汤显祖与同乡曲家交游的史实为基础  

New Evidence to Some Issues of the Linchuan School of Drama in the Ming Dynasty: On the basis of the Historical Facts of Tang Xianzu's Associating with His Fellow Countrymen

作　　者：陈志勇[1] Chen Zhiyong(non-material Chinese cultural heritage research center of Sun Yat-sen University,Guangzhou,510275,P.R.China)

机构地区：[1]中山大学中国非物质文化遗产研究中心

出　　处：《文艺理论研究》2018年第3期129-140,共12页Theoretical Studies in Literature and Art

基　　金：国家社科基金重大项目"<全明戏曲>编纂及明代戏曲文献研究"(10&ZD105)阶段性成果~~

摘　　要：在明代剧坛上,江西临川是除苏州、南京、杭州之外又一重要的戏曲中心,它以汤显祖为核心,在其周围形成一个同乡曲家群落,成员有谢廷谅、帅机、吴拾芝、曾如海和郑之文、徐奋鹏等人。这些曲家与汤显祖有不同程度的接触,也有较为相近的创作倾向和理论主张。据此,将晚明时期临川曲家群体视为一个独立的戏曲流派,并非无据。更为重要的是,以戏曲生态、文学地理的视角整体性考察这批曲家的戏曲活动,对于重绘晚明曲家谱系及地域分布图,重衡汤显祖的戏曲文学成就和历史地位皆具有不同寻常的意义。In the Ming Dynasty,Linchuan,in addition to Suzhou,Nanjing,and Hangzhou,is another important center of drama where Tang Xianzu is the core. The center formed around a family with remote village communities and the members include Xie Tingliang,Shuai Ji,Wu Shizhi,Zeng Ruhai,Zheng Zhiwen and Xu Fenpeng. These writers have different degree of social contact with Tang Xianzu,and tend to have similar creation and thought. It is reasonable to consider the Linchuan drama group during the period of the late Ming dynasty as an independent genre of drama. More importantly,to explore the activities of these dramatists from the perspectives of dramatic ecology and literary geography is of special significance for remapping these dramatists＇ genealogy and geographical affiliation and therefore for revaluating Tang＇s achievement and status in history of drama.

关 键 词：汤显祖 临川派 晚明戏曲 曲家谱系 

分 类 号：I207.37[文学—中国文学]