晚明南京劇壇研究
發(fā)布時(shí)間：2018-08-28 20:03
【摘要】： 南京在晚明眾多城市中具有特殊的地位，它不但是南部中國(guó)的政治、文化和商業(yè)中心，也是聯(lián)系南北的樞紐，是都市劇壇的代表。晚明南京戲曲演出極為繁榮，表現(xiàn)出形式多樣，參與面廣，聲腔豐富，演技高超等特點(diǎn)。南京也是戲曲家、各類演員和出版家云集的地方，戲曲演出的繁榮，推動(dòng)了戲曲創(chuàng)作和戲曲理論總結(jié)的發(fā)展，尤其刺激了戲曲刊刻業(yè)的興旺。本文以“晚明南京劇壇”作為研究對(duì)象，全文共七章，圍繞著南京的戲曲演出，綜合考察南京劇壇的各個(gè)方面，包括戲曲家活動(dòng)，作品創(chuàng)作，理論總結(jié)以及戲曲刊刻之間相互促進(jìn)的關(guān)系，從而對(duì)于南京這一座城市在明清戲曲發(fā)展和流變中所處的重要地位給予準(zhǔn)確的評(píng)價(jià)。 緒論部分闡述了論題的意義、論述對(duì)象，分析了目前的研究現(xiàn)狀，總結(jié)了本課題的特色和創(chuàng)新之處。 第一章論述文士在南京的戲曲活動(dòng)，以地域?yàn)榻?jīng)，以時(shí)間為緯，以文人社集為鏈接點(diǎn)勾勒出晚明戲曲家尤其是江南一帶的戲曲家在南京的活動(dòng)，，以初盛、再盛和極盛、尾聲四個(gè)階段勾勒出晚明南京戲曲家盛會(huì)的概況，揭示其在戲曲史上的意義和影響。 文士與歌姬的交往在中國(guó)戲曲創(chuàng)作和演出史上一直具有重要的作用。二者的密切往來對(duì)于提高歌姬戲曲表演的水平具有直接的作用，同時(shí)，浪漫的情事也成了文士創(chuàng)作戲曲的重要題材和動(dòng)力。本文第二章論述文士與青樓歌姬秦淮結(jié)緣對(duì)于戲曲發(fā)展的意義，以王zI登和馬湘蘭；梁辰魚、張獻(xiàn)翼和潘之恒以及崇禎年間復(fù)社文士與南京藝伎交往等作為重點(diǎn)考察對(duì)象。 晚明南京演劇形式別具特色，雅集演出和宴會(huì)演出是最常見的兩種形式，其場(chǎng)面之大，參與之廣和技藝之高在江南眾多城市中是屈指可數(shù)的。曲宴這種特別的形式受到文士們的追捧和歡迎，它的出現(xiàn)具有特殊的價(jià)值。南京作為南、北都會(huì)，也是各類聲腔爭(zhēng)奇斗艷的場(chǎng)所，尤其值得一提的是，南京不僅對(duì)昆曲的傳播起到很大作用，也為北曲傳承作出了貢獻(xiàn)。在昆曲全方位覆蓋江南，以絕對(duì)優(yōu)勢(shì)取得了劇壇壟斷地位的形勢(shì)下，南京能夠?yàn)楸鼻z音留下最后一塊陣地，其意義也非同小可。 第四章主要是從青樓演員、家班、職業(yè)班社和演員以及串客等四方面著手探討晚明南京的演員情況。晚明南京演員構(gòu)成復(fù)雜，既有本地培養(yǎng)的孌童和歌姬，也有各地職業(yè)戲班演員和串客云集此地，他們陣容強(qiáng)大，表演技藝全面。以青樓演員最為出色，因自幼接受嚴(yán)格的訓(xùn)練，她們具備了成為優(yōu)秀演員的基本素養(yǎng)，加上后天的努力，使得這些身份卑微而才情出眾的女演員成長(zhǎng)為南京劇壇上的奇葩，但是她們的藝術(shù)生命也極其短暫，往往是曇花一現(xiàn)。家班演員依附性較強(qiáng)，他們的身份很難確認(rèn)，但也是南京劇壇不可或缺的人物，在家班主人的培養(yǎng)下，為戲曲演出的繁盛作出了自己的貢獻(xiàn)。南京也是數(shù)十部戲班的聚集地，來自各地的演員在南京這個(gè)大舞臺(tái)上盡情施展才藝，造成了南京戲曲演出的繁榮局面，也促進(jìn)了各地戲曲表演、各類聲腔間的交流和融合。 晚明南京本地戲曲作家的創(chuàng)作水平稍弱于寓居作家，其中兩部傳奇《雙鳳記》和《雙烈記》均以歷史人物的發(fā)跡抒寫不得志情懷，主觀色彩比較濃厚；雜劇《陌花軒》和崇禎年間問世的反閹時(shí)事劇《喜逢春》則以關(guān)注現(xiàn)實(shí)，批判性較強(qiáng)而著稱。寓居作家中以湯顯祖和阮大鋮成就最高，二人在南京寓居期間都有創(chuàng)作，湯顯祖的《紫釵記》是《臨川四夢(mèng)》中最早問世的一部，對(duì)其后期創(chuàng)作影響較大。阮大鋮存世的《石巢四種》中有三部作品在南京及周邊誕生，很多情節(jié)是其南都經(jīng)歷的藝術(shù)寫照，表現(xiàn)出較強(qiáng)的自娛性和影射性，也顯示了非凡的藝術(shù)創(chuàng)造力。 相對(duì)于演劇和創(chuàng)作的繁榮，南京的戲曲理論總結(jié)也有重要的貢獻(xiàn)，尤其是圍繞著戲曲表演和創(chuàng)作而總結(jié)的“本色論”，“導(dǎo)演論”和“悲喜劇”等理論，在晚明劇壇別樹一幟，這些理論的形成很大程度上得益于在南京的戲曲實(shí)踐活動(dòng)，由此作為南京在戲曲理論方面的貢獻(xiàn)，又反過來指導(dǎo)實(shí)際演出，表現(xiàn)出了演出和理論總結(jié)緊密結(jié)合的特點(diǎn)。 長(zhǎng)時(shí)期以來，南京作為晚明戲曲的刊刻中心，一直受到人們的重視，有較多的研究成果，本文第七章除了介紹本地書坊的戲曲刊刻成就，和外地書坊對(duì)于南京劇壇戲曲刊刻也的貢獻(xiàn)外，還重點(diǎn)討論南京戲曲刊刻興盛的原因及對(duì)于其他戲曲活動(dòng)的影響。 此外，本文附錄以編年的形式勾勒出晚明劇壇戲曲活動(dòng)的大致歷程和主要事件。
[Abstract]:Nanjing has a special position in many cities in the late Ming Dynasty. It is not only the political, cultural and commercial center of southern China, but also the hub linking the north and the south. It is the representative of the urban theatre. The prosperity of opera performances and the gathering of members and publishers promoted the development of opera creation and the summary of the theory of opera, especially stimulated the prosperity of opera publishing and carving. This paper takes "Nanjing Opera Circle in the Late Ming Dynasty" as the research object, with a total of seven chapters. It makes a comprehensive study of all aspects of Nanjing opera circle, including the opera artists, around the performance of Nanjing opera. Activities, works creation, theoretical summary and the relationship between the publication and engraving of operas promote each other, so as to give an accurate evaluation of the important position of Nanjing in the development and evolution of Ming and Qing operas.
The introduction explains the significance of the topic, discusses the object, analyzes the current research situation, and summarizes the characteristics and innovations of this topic.
The first chapter discusses the activities of the literati in Nanjing, taking the region as the longitude, the time as the latitude, and the literati community as the link point to outline the activities of the late Ming opera writers, especially those in the south of the Yangtze River, in Nanjing. The fourth chapter outlines the grand gatherings of the late Ming Nanking Opera writers in four stages, namely, the early prosperity, the second prosperity and the extreme prosperity. Significance and influence.
The contacts between literati and Gejie have always played an important role in the history of Chinese opera creation and performance.The close contacts between them have a direct effect on improving the performance level of Gejie opera.At the same time,romantic affairs have become an important theme and motive force for literati to create operas.The second chapter of this paper discusses the bond between literati and Qinglou Gejie Qinhuai. For the significance of the development of opera, Wang ZIden and Ma Xianglan, Liang Chen-yu, Zhang Xianyi and Pan Zhiheng, and the association between Fu She literati and Nanjing geisha during the reign of Chongzhen were the focus of the study.
In the late Ming Dynasty, Nanjing opera had its own characteristics. Elegant performance and banquet performance were the two most common forms. The large scene, the wide participation and the high skill were few in many cities in the south of the Yangtze River. It is also a place where all kinds of voices compete with each other. It is worth mentioning that Nanjing not only plays a great role in the spread of Kunqu Opera, but also contributes to the inheritance of Beiqu Opera. Be no trivial matter.
The fourth chapter mainly discusses the actors of Nanjing in the late Ming Dynasty from four aspects: the actors of Qinglou, the classes of families, the professional classes, the actors and the guests. Most outstanding, because they received strict training from an early age, they have the basic qualities to become outstanding actors, coupled with the acquired efforts, so that these humble and talented actresses grow into the wonderful Nanjing opera world, but their artistic life is extremely short, often flash in the pan. Nanjing is also the gathering place of dozens of theatrical troupes. Actors from all over the country give full play to their talents on the grand stage of Nanjing, causing the prosperity of Nanjing opera performance and promoting it. He has entered various theatrical performances and exchanged and fused all kinds of vocal tunes.
The writing level of local opera writers in Nanjing in the late Ming Dynasty was slightly weaker than that of resident writers. The two legends, Shuangfengji and Shuanglieji, were both characterized by their historical characters'deeds and strong subjective colors, while the dramas "Mohua Xuan" and "Happy Spring" were famous for their attention to reality and criticism. Tang Xianzu and Ruan Darong were the most successful living writers, both of whom created works during their residence in Nanjing. Tang Xianzu's Zichai is the earliest one in Linchuan's Four Dreams, which has a great influence on his later works. Ruan Darong's three works in and around Nanjing were born, and many plots are the art that his southern capital has experienced. The portrayal of art shows strong self amusement and innuendo, and also shows extraordinary artistic creativity.
Relative to the prosperity of drama and creation, Nanjing's drama theory has also made important contributions, especially the theories of "nature", "director" and "tragicomedy", which are summarized around the performance and creation of drama, have established a school of its own in the late Ming Dynasty's drama circle. The formation of these theories is largely due to the practice of Nanjing's drama. As Nanjing's contribution to the theory of opera, and in turn directing the actual performance, it shows the close combination of performance and theoretical summary.
For a long time, Nanjing, as the publishing and Engraving Center of operas in the late Ming Dynasty, has attracted much attention and has made a lot of research achievements. Chapter 7 of this paper not only introduces the achievements of local bookstores in the publishing and engraving of operas, but also discusses the reasons for the prosperity of Nanjing opera engraving and its contribution to other operas. The influence of music activities.
In addition, the appendix of this paper outlines the general course and major events of drama activities in the late Ming Dynasty in the form of chronology.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類號(hào)】：K248.3;J809.2
本文編號(hào)：2210469
[Abstract]:Nanjing has a special position in many cities in the late Ming Dynasty. It is not only the political, cultural and commercial center of southern China, but also the hub linking the north and the south. It is the representative of the urban theatre. The prosperity of opera performances and the gathering of members and publishers promoted the development of opera creation and the summary of the theory of opera, especially stimulated the prosperity of opera publishing and carving. This paper takes "Nanjing Opera Circle in the Late Ming Dynasty" as the research object, with a total of seven chapters. It makes a comprehensive study of all aspects of Nanjing opera circle, including the opera artists, around the performance of Nanjing opera. Activities, works creation, theoretical summary and the relationship between the publication and engraving of operas promote each other, so as to give an accurate evaluation of the important position of Nanjing in the development and evolution of Ming and Qing operas.
The introduction explains the significance of the topic, discusses the object, analyzes the current research situation, and summarizes the characteristics and innovations of this topic.
The first chapter discusses the activities of the literati in Nanjing, taking the region as the longitude, the time as the latitude, and the literati community as the link point to outline the activities of the late Ming opera writers, especially those in the south of the Yangtze River, in Nanjing. The fourth chapter outlines the grand gatherings of the late Ming Nanking Opera writers in four stages, namely, the early prosperity, the second prosperity and the extreme prosperity. Significance and influence.
The contacts between literati and Gejie have always played an important role in the history of Chinese opera creation and performance.The close contacts between them have a direct effect on improving the performance level of Gejie opera.At the same time,romantic affairs have become an important theme and motive force for literati to create operas.The second chapter of this paper discusses the bond between literati and Qinglou Gejie Qinhuai. For the significance of the development of opera, Wang ZIden and Ma Xianglan, Liang Chen-yu, Zhang Xianyi and Pan Zhiheng, and the association between Fu She literati and Nanjing geisha during the reign of Chongzhen were the focus of the study.
In the late Ming Dynasty, Nanjing opera had its own characteristics. Elegant performance and banquet performance were the two most common forms. The large scene, the wide participation and the high skill were few in many cities in the south of the Yangtze River. It is also a place where all kinds of voices compete with each other. It is worth mentioning that Nanjing not only plays a great role in the spread of Kunqu Opera, but also contributes to the inheritance of Beiqu Opera. Be no trivial matter.
The fourth chapter mainly discusses the actors of Nanjing in the late Ming Dynasty from four aspects: the actors of Qinglou, the classes of families, the professional classes, the actors and the guests. Most outstanding, because they received strict training from an early age, they have the basic qualities to become outstanding actors, coupled with the acquired efforts, so that these humble and talented actresses grow into the wonderful Nanjing opera world, but their artistic life is extremely short, often flash in the pan. Nanjing is also the gathering place of dozens of theatrical troupes. Actors from all over the country give full play to their talents on the grand stage of Nanjing, causing the prosperity of Nanjing opera performance and promoting it. He has entered various theatrical performances and exchanged and fused all kinds of vocal tunes.
The writing level of local opera writers in Nanjing in the late Ming Dynasty was slightly weaker than that of resident writers. The two legends, Shuangfengji and Shuanglieji, were both characterized by their historical characters'deeds and strong subjective colors, while the dramas "Mohua Xuan" and "Happy Spring" were famous for their attention to reality and criticism. Tang Xianzu and Ruan Darong were the most successful living writers, both of whom created works during their residence in Nanjing. Tang Xianzu's Zichai is the earliest one in Linchuan's Four Dreams, which has a great influence on his later works. Ruan Darong's three works in and around Nanjing were born, and many plots are the art that his southern capital has experienced. The portrayal of art shows strong self amusement and innuendo, and also shows extraordinary artistic creativity.
Relative to the prosperity of drama and creation, Nanjing's drama theory has also made important contributions, especially the theories of "nature", "director" and "tragicomedy", which are summarized around the performance and creation of drama, have established a school of its own in the late Ming Dynasty's drama circle. The formation of these theories is largely due to the practice of Nanjing's drama. As Nanjing's contribution to the theory of opera, and in turn directing the actual performance, it shows the close combination of performance and theoretical summary.
For a long time, Nanjing, as the publishing and Engraving Center of operas in the late Ming Dynasty, has attracted much attention and has made a lot of research achievements. Chapter 7 of this paper not only introduces the achievements of local bookstores in the publishing and engraving of operas, but also discusses the reasons for the prosperity of Nanjing opera engraving and its contribution to other operas. The influence of music activities.
In addition, the appendix of this paper outlines the general course and major events of drama activities in the late Ming Dynasty in the form of chronology.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類號(hào)】：K248.3;J809.2
【引證文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前1條
1 陳嫣;明代組劇簡(jiǎn)論[D];北京大學(xué);2008年
本文編號(hào)：2210469
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