论平民意识与清代聊斋戏改编的市井趣味  

A Study on the Awareness of the Common People and the Adaptation of Liao Zhai Opera in Qing Dynasty

作　　者：冀运鲁[1] JI Yun-lu(Department of Literature,Huaibei Normal University,Huaibei 235000,China)

机构地区：[1]淮北师范大学文学院

出　　处：《齐鲁学刊》2019年第4期133-140,共8页Qilu Journal

基　　金：安徽省社科规划青年项目“《聊斋志异》评点史研究”(AHSHQ2017D73)

摘　　要：“聊斋戏”的改编对《聊斋志异》在下层民众中的传播具有非常重要的作用和意义。《聊斋志异》之所以被屡次改编为戏曲,是因为其本身的戏剧性或戏曲意趣。以聊斋戏曲改编在清代经历了三个发展阶段,即康熙阶段独唱,乾隆时期渐有和者,清末形成改编热。聊斋戏的改编为《聊斋志异》提供了很好的改编方式和演述形态。改编者们非常注重普通民众的欣赏水平和审美口味,为适合乡村表演,他们不惜牺牲文采性,而强化其通俗性。在这种平民意识的影响下,《聊斋志异》戏曲改编也呈现出平民化特色和市井趣味。The adaptation of Liao Zhai opera is of great significance to the spread of Liao Zhai in the lower people. Liao Zhai has been repeatedly adapted for the opera, because Liao Zhai itself dramatic or opera interest. The adaptation of Liao Zhai opera provides a good adaptation and presentation form for Liao Zhai. Liao zhai opera adaptation of the people attaches great importance to the general public to appreciate the level and aesthetic taste, suitable for rural performances, they at the expense of literary grace, and strengthen its popularity. Under the influence of this kind of civic consciousness, the opera adaptation of Liao Zhai also shows the characteristics of civilians.

关 键 词：《聊斋志异》 戏剧因素 清代聊斋戏 平民意识 

分 类 号：I207.419[文学—中国文学]