李渔戏曲理论研究50年综述

Summary of Fifty Years' Research on Li Yu's Opera Theory

李渔是我国明末清初杰出的戏曲理论家,他的戏曲理论主要集中在《闲情偶寄》的《词曲部》、《演习部》以及《声容部》中,也有少数戏曲理论散见于其诗文词赋中。李渔的戏曲理论一直为人所关注、所研究。新中国成立后,人们开始用新的学术眼光来重新审视李渔,并力图借助一些更新、更科学的方法,对李渔的戏曲理论进行了全方位、多角度的研究。就其所涉及的方面而言,包括文献整理和理论发掘两个大的方面的内容。不少专著和论文在深度和广度上都取得了很大成就。

Li Yu is an outstanding Chinese opera theorist in the era from the end of Ming dynasty to the beginning of the Qing dynasty. His opera theory is mainly collected in the On Poems and Verses and On Performance and in part of On Vocal and Facial from Xian Qing Ou Ji,as well as some can be seen in his poems or rhapsody or articles or rhymed verses, Kui Ci Guan Jian for example. No matter dead or alive, Li Yu's opera theory has always been concerned and researched. After the founding the PRC, people began to examine him with different new academic points of view, making every effort to master him and his works more objectively and more fairly. By some newer and more scientific ways, academic circles made thorough and multi-angle research on his opera theory. Till today, the research includes the rectify of his documents and the excavation of his theory. There are 11 books published on the rectify, 4 books on the opera theory research and more than 200 articles having been written. These books and articles have made great achievements on the depth and width of the research.