元代婚变戏的文化意蕴解读  

Interpreting Cultural Connotations in Marriage Crisis Opera of Yuan Dynasty

作　　者：黄春枝[1] Huang Chunzhi

机构地区：[1]信阳职业技术学院语言与传媒学院

出　　处：《戏剧（中央戏剧学院学报）》2019年第5期151-161,共11页Drama:The Journal of the Central Academy of Drama

摘　　要：中国古代戏曲长于表现伦理冲突,尤其是婚变题材的剧作,对社会伦理呈现出一种极大的人文关怀。产生在元代的反映婚变题材和涉及婚变个案的戏曲作品有四十多部,杂剧、南戏都有涉及,而以杂剧为最。元代婚变戏类型多样,题材丰富,具有深厚的文化意蕴。本文拟从蒙元强权政治对婚姻家庭的摧残与民众反抗相激荡的时代精神、儒家文化的松动与重塑、文人的理想幻梦与性别意识、男权制下的美丽囚徒四个方面阐释元代婚变戏的文化意蕴,以期管窥元代社会真实情状,深度透视元代社会的基本特征。Traditional Chinese operas are good at showing ethical conflicts, especially those about marriage crisis, which express great humanistic concern for social ethics. There are more than forty operas created in Yuan Dynasty that reflect the theme of marriage crisis and include this kind of cases, in which Zaju and nanxi are all involved, and zaju is the most. Operas about marriage crisis in Yuan Dynasty have various types, rich themes and profound cultural implications. This article intends to explain the cultural implications of these operas in Yuan Dynasty from four aspects: the spirit of the age that the destruction of marriage and family by power politics of Mongolian and Yuan regime and the public resistance collide with each other, the loosening and restoration of Confucian culture, the ideal dream and gender consciousness of the literati, and the beautiful prisoners under the patriarchal system, so as to have a glimpse of the real situation of society in Yuan Dynasty and to have a deep insight into its basic characteristics.

关 键 词：元杂剧 婚变现象 男权意识 文化意蕴 

分 类 号：J82[艺术—戏剧戏曲]