从元杂剧之“梦”到汤剧之“梦”——论古典戏曲中“梦”之表现力的增强

From the Dreams in Yuanqu to that in Tang Xianzu's Dramas

中国古典戏曲经常描写“梦”。“梦”在戏曲中主要有如下作用:第一,其作为特殊精神状态的特点在作品中成为独立的审美因素;第二,“梦”的设置在剧情结构中占有重要地位。只有到汤(显祖)剧之“梦”,上述两种作用才结合起来,从而使梦与现实两种状态的对比成为作品内蕴的核心内容,深化了作品反思现实的哲理意义。这不仅引导研究者关注古典戏曲的丰富表现手段,而且可以启发我们思考有关梦与文学的价值问题。

A lot of Chinese ancient dramas talk about dreams. Dreams in those dramas played two kinds of roles: The first one was their special character served audience in aesthetic way, the other was holding main positions in drama's structure . Those two contracted the first time with each other in Tang XianZu' s dramas, which made the difference between dream and the reality became the initial things that the drama expressed, and at last deepened the dramas.