诉诸场上:改编与明清传奇叙事格局的变化  

From Desktop Drama to Stage Theatre: Adaptation and the Changes of Narrative Pattern of Chuanqi Theatre in Ming and Qing Dynasties

作　　者：涂育珍[1] TU Yuzhen

机构地区：[1]东华理工大学江西戏剧资源研究中心

出　　处：《戏剧艺术》2020年第4期98-108,共11页Theatre Arts

基　　金：国家社会科学基金青年项目“明清戏曲改编研究”(12CZW036);江西省人文社科基地招标项目“晚明江右曲家郑之文《旗亭记》研究”(JD17006)的阶段性成果。

摘　　要：改编在叙述层面,主要指对传奇体制特有的叙事方式的改动,包括开场过场等各场面安排、脚色配置、曲唱、宾白和科介的关系等共同形成的叙事格局,具体表现了叙事意图的转变。脚色制的传奇叙事结构,在类型化人物设置中保证了人物形象的独特性;曲词、宾白、科诨也作为刻画人物、推动情节的重要叙事介质;传奇的演出逐渐由以"曲"为中心转向以"戏"为本,促使场面安排等叙事交流关系的改变、整合,体现了从案头到场上的叙事格局的变化。As far as narrative is concerned,Xiqu adaptation mainly refers to the changes of the unique narrative style of Chuanqi,including the change on the narrative pattern formed by the arrangement of scenes such as the opening scene,the arrangement of roles,the singing,the relationship between"Binbai"and"Kejie",which shows the change of narrative intention. The narrative structure of Chuanqi based on the set roles ensures the uniqueness of the characters’ stereotypical images. Lyrics,"Binbai " and "Kehun " are also important narrative media to portray the characters and drive the plot. The performance of Chuanqi gradually changes its focus from"Qu"( tune) to"drama",motivating the change and integration of the narrative elements such as scene arrangement,which reflects the changes of narrative pattern from desktop drama to stage theatre.

关 键 词：改编 戏曲 叙事 传奇 

分 类 号：J80[艺术—戏剧戏曲]