中日传统戏剧中的“狂者形象”——以《牡丹亭》与《松风》为中心  

The“Mad Men”in Both Chinese and Japanese Dramas:Focus on The Peony Pavilion and Matsukaze

作　　者：温彬 WEN Bin(Graduate School of Letters,Osaka university,560-0043,Osaka,Japan)

机构地区：[1]大阪大学文学研究科,大阪日本560-0043

出　　处：《北方工业大学学报》2021年第2期68-73,共6页Journal of North China University of Technology

摘　　要：中日两国戏剧文化源远流长,而两者在相当多的方面都受到了禅宗思想的影响。但即便这么说,两者对于禅宗的接受方式与取向也由于时代及文化背景的不同而产生了显著的差异。作者以能乐作品《松风》与戏曲作品《牡丹亭》中的主人公松风与柳梦梅为例,探讨了二者背后“狂”的特质与禅宗思想的关联性,并对其异同及其形成原因进行了分析与比较。Both China and Japan have a long history of drama culture and both have been influenced by the Zen ideology in many aspects.However,each country has its particular cultural background and they accept the Zen from different times,which lead to significant differences in the way and orientation when they take in the Zen in their drama.This paper takes as examples the protagonists Matsukaze in the Noh play“Matsukaze”and Liu Mengmei in the Kun opera“The Peony Pavilion”respectively,to explore the“madness”of the two characters and their relevance to the Zen.The paper also aims to compare their similarities and differences and to give explanations.

关 键 词：《牡丹亭》 《松风》 汤显祖 世阿弥 日本戏剧 

分 类 号：J830.9[艺术—戏剧戏曲]