文士与优伶的互动：明代戏曲搬演论的生成

Interactions between the Literati and the Yering : The Emergence of the Banyan Theory of the Ming Dynasty

借助文士与优伶之间双向互动关系的研究视角,将戏曲搬演论视为一种社会文化现象的重要文本,我们可以更深入地了解其生成机制与文化功能。在明代剧坛上,文士阶层扮演着"贵族化的平民"与"平民化的贵族"的双重角色。一方面,文士阶层意欲从自身的文化品味出发,匡正、改良优伶演剧的种种流弊,提升戏曲艺术的文化品位,以彰显雅正的文化传统;另一方面,文士阶层又不得不考虑优伶搬演和受众需求等舞台实践层面的需求与限制,对优伶阶层的审美取向采取一定程度的折衷妥协,以适应世俗的文化趣味。在文士与优伶双向互动的交流、协调过程中,明代剧坛上"在浅深、浓淡、雅俗之间"的新型戏剧文化形态逐渐生成并蔚为大观。

This study takes a perspective from the literati-Yering interactions and sees the Banyan Theory as an important text of socio-cultural phenomena.In this way , we can gain a better understanding of its generation mechanism and cultural functions. In the theatrical world of the Ming Dynasty , the literati played dual roles of 'aristocratic civilians' and 'civilian aristocrats.' On one hand , the literati class attempted to fine-tune and improve the Yering's stage performance according to their own cultural tastes , enhance the cultural tastes of theatrical art , and to uphold the cultural traditions of elegance and grace.But on the other hand , they had to take into account the limitations in relation to stage practice such as the Yering's stage performance and the audience's demands , and made some compromise to cater to secular cultural interests.In the interactions and negotiations between the literati and the Yering , a new theatrical and cultural form that was intermediate between 'profundity and superficiality , delicacy and simplicity , and elegance and popularity' emerged and became dominant.