元杂剧作家对唐传奇故事的“场上”改编  

On the Adaptation of Tang Legends by Yuan Drama Writers

作　　者：夏日 XIA Ri(Zhujiang College,South China Agricultural University,Guangzhou 510900,China)

机构地区：[1]华南农业大学珠江学院人文学院,广东广州510900

出　　处：《哈尔滨学院学报》2022年第10期91-94,共4页Journal of Harbin University

基　　金：2018年度广东省高校教学质量工程立项项目,项目编号:粤教高函【2018】179号;2018年度广东省高等教育教学研究和改革项目,项目编号:粤教高函【2018】180号。

摘　　要：从唐传奇到元杂剧的过程可谓一个大飞跃,与其说是文化发展的必然结果,不如说是社会经济结构演变的必然结果,大众消费现象是元杂剧创作的内驱力。唐传奇改编为元杂剧的策略分为三点:一是考虑受众者的俚俗性,二是依据舞台剧表演的时间性和空间特性,三是要充分考虑舞台效果而加强戏剧冲突的设置。因此将传奇改编为剧本时,必须将其原故事深隐的情节,作繁简有序、显隐相得、雅俗咸宜的处理,从而使剧本的结构框架严谨而不枝蔓,而旨在加强戏剧冲突的设置,即“戏剧性”是舞台效果的根底。The process from Tang legends to Yuan dramas is a great leap. It is not so much the inevitable result of cultural development as the inevitable result of the evolution of social and economic structure. The phenomenon of mass consumption is the internal driving force of Yuan drama creation. The strategy of adapting Tang legends into Yuan Drama is divided into three points: first, considering the vulgar nature of the audience, second, according to the temporal and spatial characteristics of stage play performance, and third, fully considering the stage effect and strengthening the setting of drama conflicts. Therefore, when the legend is adapted into a script, it is necessary to deal with the deep and hidden plot of the original story in a simple and complicated way, in order to make the script build a rigorous and non-trivial structural framework, and aim to strengthen the setting of drama conflicts, that is, “drama” is the foundation of the stage effect.

关 键 词：元杂剧 唐传奇 剧本 改编 

分 类 号：I207.37[文学—中国文学] I207.41