试论明中期传奇对杂剧体制的浸淫  

On the Immersion of Chuanqi inZaju's System in Mid-Ming Dynasty

作　　者：刘竞 LIU Jing(College of Literature and Media,Guangdong Polytechnic Normal University,Guangzhou,Guangdong,510665,China)

机构地区：[1]广东技术师范大学文学与传媒学院,广东广州510665

出　　处：《齐齐哈尔大学学报（哲学社会科学版）》2024年第7期102-106,共5页Journal of Qiqihar University(Philosophy & Social Science Edition)

基　　金：广东省哲学社会科学规划项目:复古思潮与明代戏曲体制演进(GD20XZW07)。

摘　　要：明中期作家对杂剧体制进行了大胆改革。他们吸收了传奇在演剧上的成功之处,同样吸收了传奇中一些符合时代思维的体制要素,在角色、题目正名、楔子、开场与下场诗等方面进行了积极调整。这些调整不仅是明代演剧的实际需要,更是戏曲发展到明代中期文人化的具体体现。在明中期曲作家的改造与调整下,杂剧体制趋于精致,更适合文人情绪的表达,也更符合明代戏曲舞台的表演。不同戏曲的体制融合在明中期杂剧身上得到了极好的体现。The writers for Chinese classical opera in Mid-Ming Dynasty reformed the Zaju's system boldly.They absorbed the successes of Chuanqi in perform and some essential system factors of Chuanqi which accorded with the times thinking.As a result,they adjusted positively the roles,the non-standard form of the name of Zaju,the wedge in drama,the start,the end poem and so on.These adjustments were not only the actual needs of the perform in Ming Dynasty,but also the concrete embodiment of the literati of Chinese classical opera in Mid-Ming Dynasty.Under the adjustment of the writers for Chinese classical opera in Mid-Ming Dynasty,the Zaju s system which inclined to delicate features was suited to express the literati emotions and perform on the stage much more.The system integration of the different Chinese classical opera types reflected on the Zaju in Mid-Ming Dynasty fully.

关 键 词：明中期 杂剧 传奇 体制 

分 类 号：I207.37[文学—中国文学]