六要素图式与明代戏曲理论批评论争研究

On Six-elements Schemata and Dramatic Theory of Ming Dynasty

明代戏曲理论批评论争囊括之富,关涉之广,论辩之精,为中国古典戏曲理论史仅见。其著者有关于戏曲创作主体、表演主体代表性,典范作家示范性的名家之争;戏曲典范作品示范性的名剧之争;戏曲创作过程中内容与形式二元对立关系的意法之争;戏曲创作、传播过程中用韵规范的宗韵之争等等。本文借鉴艾布拉姆斯《镜与灯》作品、生产者、世界与欣赏者四要点解析的观点,考虑到戏曲艺术的自身特点,将生产者(艺术家)区分为创作主体(剧作者)与表演主体(演员),并加入舞台因素,试以六要素图式对明代戏曲理论批评论争所关涉的诸问题予以系统观照与整体把握。

The criticism debate on the dramatic theory of the Ming Dynasty can only be found in the literary history of Chinese classic drama as it is concerned about so much in content, so wide in scope and so elaborate in depth. Such debate touches on the theme of dramatic creation, representative of performance and exemplar playwrights. Also debated are exemplar pieces selected from masterpieces, binary relation between content and form in the process of creation, the rhyming scheme in the process of creation and dissemination. This paper distinguishes producers （artist） from playwrights and actors by referring to the four factors like the work （here A. Brams＇ Mirror and Light）, producer, world and appreciator. By means of the six - elements schemata together with other stage factors, the paper intends to make a systematic comparison and general grasp of all the issues in the debate on drama theories of the Ming Dynasty.