俄罗斯对中国古典戏曲理论的翻译和研究  

Translation and Research on Chinese Classical Opera Theory in Russia

作　　者：高玉海[1] Gao Yuhai(Jiangnan Cultural Research Center,Zhejiang Normal University,Jinhua,Zhejiang,321004)

机构地区：[1]浙江师范大学江南文化研究中心,浙江金华321004

出　　处：《长江学术》2024年第3期77-89,共13页Yangtze River Academic

摘　　要：相较于中国古典戏曲在俄罗斯的翻译和研究,中国古典戏曲理论在俄罗斯的翻译更少,但俄罗斯汉学家对中国古典戏曲理论的研究成果十分丰富,既有数量可观的单篇论文,也有专论元杂剧特点、明杂剧历史的专著,甚至出现了专论戏曲演出的著作,所论内容涉及中国古典戏曲的起源与发展、创作与批评、角色与演出等方面。俄罗斯汉学界对中国古典戏曲史的关注始于20世纪初,研究持续时间最长;对戏曲创作和批评理论的研究较晚,大概是从20世纪五六十年代受到国内《中国古典戏曲论著集成》出版的影响开始的;关于角色和演出的论述不多,但也有少数汉学家长期深耕,取得了丰硕的研究成果。Compared to the translation and research of Chinese classical opera in Russia,there are fewer translations of Chinese classical opera theories in Russia.However,Russian sinologists have made abundant research achievements in the field of Chinese classical opera theories.These achievements include a considerable number of single papers,monographs dedicated to the characteristics and history of Yuan and Ming dramas,and even works specifically focusing on the performance of dramas.The content of these works covers various aspects of the origin,development,creation,criticism,roles,and performances of Chinese classical opera.The attention of the Russian sinological community to the history of Chinese classical opera began in the early 2oth century and has been the subject of research for the longest period of time.Research on drama writing and critical theory started relatively late,probably influenced by the publication of the Collection ofChinese Classical Opera Theoretical Works in the 1950s and 1960s.There are few discussions on roles and performances,but a small number of sinologists have conducted long-term and in-depth research and achieved fruitful results in this area.

关 键 词：俄罗斯汉学 戏曲理论 中国古典戏曲 元杂剧 明杂剧 

分 类 号：H35[语言文字—俄语] I046[文学—文学理论]