摘要
明末清初传奇剧坛掀起魂旦戏创演的高潮,其中以《牡丹亭》和《长生殿》为典型代表。本文分析了明清魂旦戏创作高潮的成因、魂旦形象的独特文学抒情性以及魂旦作为一种副角色所具有的丰富舞台表演性,以期为中国鬼戏的研究提供一条更为开放的思路。
During late Ming and early Qing, the Chuanqi drama stage had witnessed a fascinating trend of creating phantom hero- ines, among whom Du Li-niang in Peony Pavilion and Yang Yu-huan in Palace of Eternal Life were the most successful. This paper analyzes the reasons why there emerged such a high point of writing and staging phantom heroine plays, and furthermore elaborates the unique poetic and theatrical features of such a special sub-role on Chuanqi stage. It is hoped to provide a new perspective in the study of Chinese ghost hterature.
出处
《中国文学研究》
CSSCI
北大核心
2013年第4期46-50,共5页
Research of Chinese Literature
基金
武汉大学"70后"学者学术发展支持计划"海外汉学与中国文学研究的新视野"的阶段性成果
关键词
魂旦
传奇
副角色
抒情性
演剧性
phantom heroine
Chuanqi drama
sub-role
poetic
theatrical
