古代戏曲中“庸医”形象与社会解读  

On the Image of Quack in Ancient Opera and Its Sociological Interpretation

作　　者：王青[1,2] 吕靖波[3] Wang Qing;Lv Jingbo

机构地区：[1]马鞍山职业技术学院,安徽马鞍山243032 [2]南京大学 [3]江苏师范大学文学院,徐州221116

出　　处：《南京社会科学》2020年第8期124-128,共5页Nanjing Journal of Social Sciences

基　　金：国家社科基金项目“明代文人游幕与文学研究”(12FZW040)的阶段性成果。

摘　　要：中国古代戏曲里的庸医形象源于宋金杂剧,又广泛存在于元明杂剧、南戏和明清传奇之中,是非常活跃的一个角色。作为喜剧人物,庸医将科诨作为主要表演手段,其上场诗用打油体,并以夸张的误诊、滑稽出格的形体动作及“斗医”闹剧来达到嬉笑的效果。The origins of quack in Chinese traditional theatre are the Song Jing Drama,and exist in many Yuan Ming dramas and Ming Qing Chuan-qi.The quack is comedy role,“Ke-hun”is their main performance measure.They’ll start to play with doggerel,and use misdiagnosis achieve the desired comical effect,amuse people with funny body movements and play farce through“Dou-yi”.Why had the quack often been an object of ridicule in Chinese traditional theatre?Firstly,there are many real quacks in ancient society;Secondly,the ancient doctor’s social status is relatively low which make them to be an object of ridicule by playwrights and audience;Thirdly,it is the structural needs of traditional opera creation;Finally,it is the appropriate way for the public to vent social anxiety.

关 键 词：戏曲 庸医 科诨 娱乐对象 宣泄途径 

分 类 号：I06[文学—文学理论]