晚明以降戏曲活动中士人与伶人的思想抵牾与精神离合

Ideological Contradiction and Spiritual Separation of the Scholars and Actors in Drama Activities since the Late Ming Dynasty

明中后期,以文人化传奇为主导的戏曲体制日益兴盛,与这一时期的主情思潮彼此呼应。这一时期许多重要的戏曲家均为有过科举或仕进经历的士人群体,他们从剧本创作到排练指导,从参与“登场客串”到“以曲谋生”,与伶人群体产生诸多叠加交集并在价值取向、理想意志上呈现彼此靠拢、相互趋同、有机融合的态势;与此同时,伶人群体自然也相向而行,不断从艺术修养、价值理想、品格担当等维度向士人靠拢。但在这一融合与嬗变的背后,二者又出于不同的道德定位、理想声望、情感立场仍存在较大的思想抵牾与精神离合。

In the mid to late Ming Dynasty,the traditional Chinese opera system dominated by literati style legends became increasingly prosperous,echoing the main sentiment trend of this period.During this period,many opera masters with important typical representatives were a group of literati who had experienced imperial examinations or career advancement.From script writing to rehearsal guidance,from participating in“guest appearances”to“making a living through music”,they had many overlapping experiences with the actors.The two showed a trend of approaching,converging,and organically integrating with each other in terms of value orientation and ideal will.At the same time,the group of actors naturally moved towards each other,constantly approaching scholars from dimensions such as artistic cultivation,value ideals,and moral responsibility.But behind this fusion and transformation,there are still significant ideological conflicts and spiritual separations between the two due to different moral positioning,ideal reputation,and emotional positions.