《舞论》中的古典梵语戏剧分幕制理论探析  

A Theoretical Study on the Split-Act System of Indian Classical Sanskrit Drama in Natyasastra

作　　者：韩萌 Han Meng

机构地区：[1]中国戏曲学院戏曲文学系

出　　处：《戏剧（中央戏剧学院学报）》2024年第5期128-140,共13页Drama:The Journal of the Central Academy of Drama

摘　　要：印度古典梵语戏剧历经十多个世纪的传承与发展,其情节布局日趋成熟,形成较为稳固的结构特征。印度现存最早、最权威的戏剧学著作《舞论》在多个章节论述古典梵语戏剧的情节结构特征,分幕制是其中关键所在。本文以《舞论》的相关理论为中心,结合现存代表性剧目实例,探析古典梵语戏剧的分幕制特征及其衍生出的舞台时空观念,并与西方戏剧和中国古典戏曲相关理论进行简要比较。Classical Sanskrit drama in India has undergone more than ten centuries of inheritance and development,with its plot structure becoming increasingly refined and forming more stable structural characteristics.Natyasastra,the earliest and most authoritative work on Indian drama,discusses the plot structure characteristics of classical Sanskrit drama in several chapters,with the split-act system being the key element.This paper focuses on the relevant theories of Natyasastra,combined with the examples of representative plays,to explore the characteristics of the split-act system of classical Sanskrit drama and the concept of stage time and space that it has engendered,and briefly compares them with related theories in Western drama and Chinese classical Xiqu.

关 键 词：古典梵语戏剧 《舞论》 分幕制 情节结构 时空观念 

分 类 号：J81[艺术—戏剧戏曲]