臧懋循改评当朝传奇“当行”论  

Zang Maoxun's Commentary on the"Danghang"Theory in Ming Drama

作　　者：伊崇喆 杨绪容[1] Yi Chongzhe;Yang Xurong

机构地区：[1]上海大学文学院,上海200444

出　　处：《艺术探索》2023年第1期116-121,共6页Arts Exploration

基　　金：2018年度国家社科基金重大项目“明清戏曲评点整理与研究”(18ZDA252)。

摘　　要：臧懋循对《玉茗堂传奇》《昙花记》等五部当朝传奇名作进行改评,意欲为当朝传奇树立“当行”之标杆。他将“本色”纳入“当行”之范畴,大力标举以舞台表演为核心的“当行”论,力使音律“谐叶”、语言“稳称”、关目“紧凑”。他创造性地提出了“做法”这一个性鲜明的表演论批评术语,并将搽旦这一脚色从元杂剧引入传奇表演中,总结出“前后错综法”“断流法”等表演方法,有针对性地指导了舞台表演,对作家创作有一定的启迪作用。Zang Maoxun revised five Ming dramas,such as the Tale of Yuming Hall(Yuming Tang Chuanqi玉茗堂传奇)and the Tale of the Epiphyllum(Tanhua Ji昙花记),in order to set a benchmark for this kind of work.Zang changed his evaluation to include"true character"(bense本色)in the"danghang"(当行)category,and made great efforts to highlight the"danghang"theory centred on stage performance,so as to turn melody into"a harmonious leaf"(xie ye谐叶),make language"stable and balanced"(wen chen稳称),and plot elements"tight-knit"(jincou紧凑).He creatively put forward"method"(zuofa做法)as a distinctive critical term of performance theory,and introduced the character Chadan(搽旦)from the Yuan poetic dramas(Yuan zaju元杂剧),and summed up"complexity from beginning to end"(qianhou cuozong fa前后错综法),"cutoff method"(duanliu fa断流法),and other performance methods,all of which directed stage performance and also exerted a certain enlightening effect on Ming dramatic creation.

关 键 词：臧懋循 传奇 改评 影响 

分 类 号：I207.37[文学—中国文学] J812[艺术—戏剧戏曲]