探子何以唱主角——推论元杂剧形态与讲唱文学的关系  

The Manner of Performance of the Yuan Opera and Its Relation with “Spoken and Sung” Stories

作　　者：赵建坤[1] 

机构地区：[1]中山大学人文科学学院中文系,广东广州510275

出　　处：《中山大学学报（社会科学版）》2002年第5期33-40,共8页Journal of Sun Yat-sen University(Social Science Edition)

摘　　要：“一人主唱”在现存元杂剧中有相当丰富的表现形式,而全本由剧作中两种或两种以上的故事角色分折主唱的一类剧作较其它类作品更明显地带有元剧的某些特有印记。本文从剧本写作者、演员、观众等方面入手,将亲自统计出的五十三种这类剧作予以分析归纳,认为以“一人主唱”为其基本特色的元杂剧,从本质上讲,有明显的讲唱艺术的痕迹,这使其与现代的戏剧形态与观念相去甚远。Due to the insufficient cultural heritage data, we find it difficult to make clear the Yuan Opera's condition and manner of performance. However, many researchers still want to answer this question. The author finds that the styles of 'one person singing as the main performance' have very abundant manifestations. And the styles in some plays in which two or more than two roles sing in acts bear more characteristics of the Yuan Opera than of other operas. This paper analyzes 53 plays from the aspects of the librettist, the actor and audience. This paper holds that essentially speaking, the style of 'one person sings as the main performance' is the basic characteristic of the Yuan Opera. The Yuan Opera obviously bears the trace of the art of 'spoken and sung' stories. This makes the form and appearance of the Yuan Opera different from the modern drama.

关 键 词：元杂剧 讲唱文学 全知全觉式 主唱 摹仿 叙述视角 

分 类 号：I207.37[文学—中国文学]