论臧懋循元杂剧编改的“剧学”奠基意义  

On the Significance of Zang Maoxun’s Revision of Yuan Dynasty Zaju Plays as the Foundation of Drama Theory

作　　者：何萃 He Cui(School of Literature,Yangzhou University,Yangzhou Jiangsu,225100)

机构地区：[1]扬州大学文学院,江苏扬州225100

出　　处：《山东师范大学学报（社会科学版）》2023年第5期148-156,共9页Journal of Shandong Normal University(Social Sciences)

基　　金：江苏省社科基金一般项目“中国古典戏剧结构体制对戏剧叙事的规约研究”(20ZWB005);江苏高校哲学社会科学研究一般项目“文体结构规约下的中国古典戏剧叙事研究”(2020SJA1988)的阶段性成果。

摘　　要：臧懋循出于其自觉的“剧”本体观念而非当时普遍的“曲”本体观念,对元杂剧进行了系统编改。脚色层面,参照传奇脚色体制对元杂剧脚色进行系统性重建,并深入剧作内部,从上场诗、下场诗及科白方面,对相应脚色名目作出实质性的行当化调整。关目层面,调整聚焦以增强关目紧凑性,调度人物以增强关目戏剧性。排场层面,调整分折以优化布局,利用辅场景以烘托主场。曲白协同层面,添加曲间白以形成互动对话,甚至对曲本身进行增删修改,曲白统筹安排以优化叙事效果。在古代戏曲理论偏重“曲学”的传统格局中,其对古代戏曲“剧学”理论的建构有着切实的奠基意义。Zang Maoxun made a systematic revision of Yuan Dynasty zaju plays out of his self-conscious ontological concept of“plays”rather than the general concept of qu at that time.In the aspect of role,referring to the legendary role system,Zang systematically reconstructed the role of Yuan Dynasty zaju plays,and went deep into the play,making substantive adjustments in the opening poem,the ending poem and dialogues.In the aspect of plot,Zang adjusted the focus to enhance compactness and arranged the characters to enhance dramaticism.In the aspect of structure,Zang adjusted the scenes to optimize the layout,and used the auxiliary scenes to highlight the main scenes.In the aspect of relationship between qu(verses for singing)and dialogues,Zang added a dialogue between qu to enhance interaction,and even added and deleted qu in the play,and adjusted qu and dialogues as a whole to enhance the narrative effect.In the traditional pattern of emphasizing“qu theory”in ancient drama theory,Zang laid a solid foundation for the construction of the ancient drama theory.

关 键 词：臧懋循 元杂剧 “剧”本体观念 剧学 曲学 

分 类 号：I237.1[文学—中国文学]