明代南曲戏文“分出”体制的形成与戏曲史意义  

Formation and Dramatic Significance of the“Separation”System in Ming Dynasty Southern Opera Scripts

作　　者：陈志勇[1] Chen Zhiyong

机构地区：[1]中山大学中国非物质文化遗产研究中心,510275

出　　处：《文艺理论研究》2024年第3期66-76,共11页Theoretical Studies in Literature and Art

基　　金：国家社科基金重大项目“明清戏曲选本叙录与珍稀版本集成研究”[项目编号:23&ZD283]阶段性成果。

摘　　要：“分出”是明传奇剧本体制形成的重要标志,而早期的南曲戏文存在“隐性分出”和“显性分出”两种形态。晚明时期艺人演出本和坊刻阅读本优化了宋元及明前期南戏按人物上下场分出的方式,摸索出人物上下场、场景整一性和情节整一性相结合的分出标准。明代南曲戏文分出体制的形成原因较为复杂,就艺人演出本而言,分出是便于舞台表演;就坊刻阅读本而言,分出是便于读者阅读;就文人编创本而言,分出更多是剧作家对剧坛通常做法的认可和固定。折子戏流行和公共话语交流所产生的“散出身份确立”与“群体共同交流”的需要,也是分出体制形成的不可忽视的外部因素。分出体制的形成包含着艺人、书客和剧作家对戏剧内外结构的理解,反映出演本与读本、作者(编者)与读者之间微妙的离合关系。The practice of“fenchu”(separation)marks a pivotal development in the Ming dynasty's chuanqi playwriting system,manifesting as either“implicit”or“explicit”separation within early Southern Opera texts.The late Ming period saw enhancements in the separation methodologies within actors'performance manuscripts and reader-oriented printed editions,improving upon the character entry and exit strategies from the Song,Yuan,and early Ming operas.This led to the formulation of separation standards that reconcile character transitions,scene consistency,and narrative cohesion.The emergence of the separation mechanism in Southern Opera is attributed to multifaceted causes:for performance scripts,it facilitated staging;for printed editions,it enhanced readability;and for literary compositions,it signified playwrights'endorsement and standardization of theatrical conventions.The advent of selected scene plays and the demands of public discourse,requiring the“establishment of dispersed identities”and“collective interaction,”played a crucial external role in the development of this system.The inception of the separation mechanism signifies a comprehensive understanding of drama's intrinsic and extrinsic structures by performers,patrons,and playwrights alike,highlighting the intricate interplay between script performance and consumption,and between creators and audiences.

关 键 词：明传奇 南曲戏文 分出标目 剧本体制 戏曲史 

分 类 号：I207.37[文学—中国文学] J809.2[艺术—戏剧戏曲] K248[历史地理—历史学]