杂剧《真傀儡》新探  

New Exploration of Poetic Drama True Puppet

作　　者：曹明琴 刘天振[2,3] CAO Mingqin;LIU Tianzhen

机构地区：[1]浙江师范大学 [2]浙江师范大学人文学院 [3]浙江师范大学江南文化研究中心,金华321000

出　　处：《浙江艺术职业学院学报》2019年第2期17-23,共7页Journal of Zhejiang Vocational Academy of Art

基　　金：浙江文化研究工程(第二期)项目“明清浙北戏曲家研究”(项目编号:18WH30041ZD-9Z);浙江师范大学第七期研究生重点课程建设项目(序号3)的阶段性成果

摘　　要：明杂剧《真傀儡》本事出自唐韦绚《刘宾客嘉话录》一书,并据《萍洲可谈》加以敷演。其作者在学界一直存在争议,分别有王衡、陈继儒、无名氏之说。从现存研究成果看,对《真傀儡》作者的研究普遍忽略了与创作心理、文本意旨的结合。将相关史料结合剧本分析,可断定《真傀儡》作者应为王衡。《真傀儡》在明代杂剧史上有重要地位,其采用单折剧形式,是王衡为挽救明杂剧颓势所作的一种努力。同时,《真傀儡》反映了明代肉傀儡的衍进情况,明确了肉傀儡是“人妆傀儡”和“争知话语是他人”的演出模式。The poetic drama True Puppet of Ming Dynasty originated from Tang Wei Xuan ’s Liu Binke ’s Notes ,and was performed according to Ping Zhou Ke Tan . The author has been controversial in academic circles, including Wang Heng, Chen Jiru and Anonymous. From the existing research results, the study of the author of True Puppet generally neglects the combination with creative psychology and text intention. The author of True Puppet should be Wang Heng by combining the relevant historical datas with the analysis of the script. True Puppet plays an important role in the history of poetic drama in Ming Dynasty. Its single-play form is Wang Heng ’s efforts to save the decline of poetic drama in Ming Dynasty. At the same time, True Puppet reflects the development of meat puppets in Ming Dynasty, and makes it clear that meat puppets are the performing modes of people make-up puppets and contending for knowledge is others.

关 键 词：《真傀儡》 本事 王衡 单折剧 肉傀儡 

分 类 号：I237.1[文学—中国文学]