清宗室戏曲创作刍论  

On drama creation of Qing imperial clan

作　　者：梁帅[1] LIANG Shuai(School of Literature,Henan University,Kaifeng 475003,China)

机构地区：[1]河南大学文学院,河南开封475003

出　　处：《中南大学学报（社会科学版）》2018年第4期182-190,共9页Journal of Central South University：Social Sciences

基　　金：国家社科基金重大招标项目“《全清戏曲》整理编纂及文献研究“(11&ZD107);中国博士后科学基金第62批面上资助项目(2017M622326)。

摘　　要：清代北京剧坛活跃着一支以宗室为创作主体的贵族作家群。清前中期岳端、永恩、敦诚、绵恺、佑善等人创作的作品有杂剧与传奇,载阔亭、溥绪等人则是晚清北京皮黄戏编剧的代表人物。八旗王公贵族府邸浓厚的观剧氛围,为宗室频频涉足戏曲创作奠定了基础。消遣排忧是宗室剧作家主要的创作动机。他们的剧作具有浓厚的宣扬教化色彩,太平之时宗室借戏曲鼓吹国运昌盛,危难之际他们则以扭转世风为目的。在创作过程中,宗室与门客故吏的合力共筑,不仅助力宗室戏曲成就的取得,也极大地提升了门客戏曲创作的水准。There appeared an aristocratic group of dramatists in Beijing Theatre of the Qing Dynasty who took imperial clan as major creation entity.In early and mid Qing Dynasty,such dramatists as Yue Duan,Yong En,Dun Cheng,Mian Kai and You Shan produced Zaju and Chuanqi,while in late Qing Dynasty,Zai Kuoting and Pu Xu were the representatives of Beijing opera playwrights.From the external conditions,nobility mansion of Eight Banners kings has strong atmosphere for the opera activities,which laid foundation for the frequent involvement in drama creation.From the writers’view,recreation was the major creative motivation,and their drama had strong didactic coloring in that at peace time they made use of drama to sing praise of peace and prosperity of the country but at the critical moment,they turned the tide.Hence,in the process of creation,both imperial clan and the gatekeeper made joint efforts,not only helping the imperial clan achieve opera achievement,but also improving the gatekeeper’s proficiency in drama creation.

关 键 词：清宗室剧作家 创作动机 创作主旨 创作方法 

分 类 号：I207.3[文学—中国文学]