汤沈之争中的“案头”与“场上”概念新解  

A New Interpretation of Tang’s and Shen’s Dispute over Script-Centeredness and Stage-Centeredness

作　　者：孙向荣 SUN Xiang-rong(Journal Center,Guangzhou University,Guangzhou,Guangdong,510006)

机构地区：[1]广州大学期刊中心,广东广州510006

出　　处：《广州广播电视大学学报》2022年第2期58-61,109,110,共6页Journal of Guangzhou Open University

基　　金：国家社科基金项目“中国戏剧文体与演剧的互动研究”(项目编号:20BZW006);教育部人文社会科学研究项目“中国古典戏剧实践的理论新构研究”(项目编号:19YJA751028);广州市哲学社会科学规划课题“期刊媒介与学术研究范式的互动机理研究”(课题编号:2021GZGJ259)。

摘　　要：长期以来,明代汤沈之争的关键点一直被认为是戏曲的文本创作究竟应以“案头”还是“场上”为标准,如此,主张“场上”的沈璟便具有了戏曲观念上的优势。但实际上,汤沈之际“案头”与“场上”两个概念具有与今日完全不同的内涵,二者的差异乃是以是否符合“曲律”为分野。当时所谓“案头”文本的特征是注重文采,不太重视曲律,而所谓“场上”文本之标准,则是“曲词”合律,除演唱外,并不涉及文本的其他舞台呈现方式,这种“场上”文本并没有脱离“案头”的陈旧模式。For a long time, it has been believed that on opera creation, Tang Xianzu favored script-centeredness, while Shen Jing advocated stage-centeredness, with the latter more widely accepted than the former. But in fact, the terminologies they employed at that time, that is, in the Ming Dynasty, conveyed completely different connotations from today. They only disputed over whether musical principle shall be observed. Tang proposed the idea of script-centeredness to lay more emphasis on literary aspects than musical ones, and Shen maintained their integration instead of other on-the-stage presentations. Thus, they actually both upheld such old tradition as script-centeredness.

关 键 词：汤沈之争 案头 场上 概念新解 

分 类 号：I207.3[文学—中国文学]