摘要
滩簧戏是清中叶后中国地方戏之一支，盛行于江浙一带，与韩国山台杂戏、调戏、唱剧，日本“猿乐”、狂言，越南杂戏、嘲剧等，共同构成东亚的笑剧传统。本文从剧种、艺人、剧中人的名称入手，论及滩簧戏的民间性笑谑风格：亵渎神圣、表现节庆、荤话调戏、诅咒詈骂、局外评点等，将其置于东亚笑剧的大范畴里一一作出比较，并以巴赫金狂欢化诗学理论分析了它们的狂欢和笑谑精神。
Tanhuang drama is a regional drama formed in the latter half of Qing Dynasty and popular in Jiangsu and Zhejiang. It makes the tradition of East Asian comic drama along with other regional comic dramas in Korea, Japan and Vietnam. This paper is to study the folk style of laughter such as desecration of gods, celebration of festivals, flirtation with erotic language, curses and aside comments from its genre, players and the names of the characters. It studies its carnival and laughter spirit through the perspective of Bakhtin＇s carnival poetics in comparison with other comic dramas of East Asia.
出处
《中国比较文学》
CSSCI
北大核心
2009年第4期131-142,共12页
Comparative Literature in China
基金
全国重点学科“比较文学与世界文学”、上海市重点学科“中国古代文学”(项目编号S30403)成果
关键词
滩簧戏
东亚笑剧
狂欢精神
Tanhuang drama
East Asia comic drama
carnival spirit
