李渔之问及其解决之道——《笠翁十种曲》结构艺术的戏曲美学本体论意义  

Li Yu’s Question and One of His Solution--The Ontological Significance of Xiqu Aesthetics about the Structural Art in The Ten Plays of Li weng

作　　者：蔡东民 Cai Dongmin

机构地区：[1]苏州科技大学文学院

出　　处：《中国美学》2022年第2期91-103,共13页Chinese Aesthetics

基　　金：江苏省高校哲学社会科学研究项目“戏曲符号学引论”(2018SJA1336)阶段性成果。

摘　　要：明末清初文学家、戏剧家李渔在《闲情偶寄》中通过对元曲与戏曲的对比和评价,提出了“戏曲剧本到底是应该为了场上搬演,还是仅仅为了文人自相唱和”这个重要问题。其核心在于讨论:中国戏曲到底应该姓“文”还是姓“戏”。即旨在将戏曲从文学中解放出来。在李渔著作中,他也以自己的戏曲理论和《笠翁十种曲》的戏剧结构艺术实践回答了这个宏大而又尖锐的问题。时至近代,李渔之问在日本著名汉学家青木正儿的著作中得到了积极的响应。Li Yu,a litterateur and dramatist in the late Ming and early Qing Dynasties,puts forward the important question of“should the drama play be performed on the stage or just for the literati to sing for themselves”through the comparison and evaluation of Yuanqu and contemporary Chuanqi in his famous works Xian Qing Ou Ji.Its core is to discuss:Which is the surname of Chinese Traditional Xiqu,Literature or Theatre?The purpose is to liberate opera from literature.In Li Yu’s works,such as his Xiqu theory and The Ten Plays of Li weng,he practiced the art of dramatic structure to answer this grand and sharp question.Until modern times,Li Yu’s question got a positive response in the works of the famous scholar Aoki Masaru.

关 键 词：李渔 戏曲美学 文学性 舞台搬演 结构艺术 

分 类 号：I207.37[文学—中国文学]