《单刀会》《西蜀梦》传播境遇比较研究  

Comparative Study on the Dissemination of Lord Guan Goes to Feast and A Dream of the West Shu State

作　　者：杜鹃[1] 王筱颖 DU Juan;WANG Xiaoying(School of Humanities and Social Sciences,North University of China,Taiyuan 030051,China;Arts Faculty,North University of China,Taiyuan 030051,China)

机构地区：[1]中北大学人文社会科学学院,山西太原030051 [2]中北大学艺术学院,山西太原030051

出　　处：《中北大学学报（社会科学版）》2023年第5期15-19,27,共6页Journal of North University of China：Social Science Edition

基　　金：山西省社会科学界联合会2020-2021年度重点项目:山西文旅融合视域下关公戏曲文化旅游资源开发研究(SSKLZDKT2020087)。

摘　　要：关汉卿的两部表现关羽的杂剧《关大王单刀会》和《关张双赴西蜀梦》都是喻义深刻的杰出之作。然而,二者在后世的传播中却表现出了截然不同的传播境遇:一部繁花似锦,不断传唱,甚至几近成为七百多年来尚存的元曲活化石;另一部仅有元刊本随波逐流,几乎无文献记载,鲜有舞台演出,连学者都少有问津。探究其原因,关公信仰决定了英雄形象的传播指向、诗性书写与戏剧意境奠定了元杂剧的审美认知、鲜明生动的人物形象吻合了受众的审美期待。Lord Guan Goes to Feast and A Dream of the West Shu State,two outstanding poetic dramas written by Guan Hanqing,both were with profound metaphors.However,the dissemination of the two in the later generations turns out quite differently,the former is performed widely and continually like a living fossil of the yuan opera while the latter leaves few documents with few stage performances,and noticed by few scholars.Exploring the reasons,the belief in Guanyu determines the dissemination direction of the hero image,the poetic writing and the dramatic context lay the aesthetic cognition of the poetic draws in Yuan Dynasty,and the vivid character image conforms to the aesthetic expectation of the audience.

关 键 词：《单刀会》 《西蜀梦》 传播境遇 关汉卿 

分 类 号：I207.37[文学—中国文学]