论明清流行的折子戏对传奇原作主题的改变——以明代汪廷讷《狮吼记》为例  

On the Adaption of Zhezi Drama Popular in Ming and Qing Dynasties to its Original Legendary Theme: Taking the legend of the Lion's Roaring written by Wang Tingna in Ming Dynasty as an example

作　　者：李玫[1] LI Mei(Institute of Literature,Chinese Academy of Social Sciences,Beijing 100732,China)

机构地区：[1]中国社会科学院文学研究所,北京100732

出　　处：《铜仁学院学报》2018年第10期16-22,27,共8页Journal of Tongren University

摘　　要：明代中后期开始,折子戏成为明清传奇在戏曲舞台上流传的主要形式。因此,长期以来广大受众接受知晓的,是那些在舞台上经常演出的折子戏,而原作反而鲜有人知。折子戏所表达的主题,所突显的人物及其对人物的态度和评价,与原作往往不一致。以明代剧作家汪廷讷《狮吼记》中折子戏在明清两代、直至现当代的流传情况为例,分析舞台流行的《狮吼记》折子戏《梳妆》《跪池》等与《狮吼记》原作在思想观念方面的差异。进而说明,一部传奇中哪些折子戏能够在舞台持续上演,是长期、集体的选择。选择机制的背后,是与传奇作者的观念意识、与社会传统观念不甚相同的大众意识。From the beginning of the middle and late Ming Dynasty,Zhezi Drama has become the main form on the stage of opera.Therefore,for a long time,Zhezi dramas frequently performed on the stage were well-known to the audience while their originals were rarely known.The themes,characters as well as the attitudes toward them expressed in the dramas are often inconsistent with those of the original works.This paper takes two Zhezi dramas which are the Dressing and the Guichi excerpted from the Lion’s Roaring written by Wang Tingna,a dramatist of Ming Dynasty,as an example,describing their prevalence on the stage from Ming and Qing Dynasties until the modern and contemporary ages and analyzing their differences from the original one in thought.Besides,it is expounded that Zhezi dramas in a legend which can be continuously performed on the stage are a long-term and collective choice.Behind the selecting mechanism lie the concepts and consciousness of the legendary authors and the public consciousness that is not the same as the social traditional concepts.

关 键 词：折子戏 明清传奇 《狮吼记》 《梳妆》 《跪池》 

分 类 号：I237.1[文学—中国文学]