摘要
李渔的《意中缘》传奇写成之后,一位女读者黄媛介为之作序并加以评点。其评点以"情文兼妙"四字点睛,艺术角度上的理解集中于剧作曲白文词语言生动处、情节关目有趣处、人物形象刻画精彩处,其中尤以指出剧作人物的命运安排依其性格而定的创作规律为上;人生角度的解读则结合自己阅读时的心理体验和亲身经历观照自我、发现自我、欣赏自我,代表了女性读者在戏曲接受与戏曲批评上的独特视角与标准。这些简短精炼的评语系作者李渔、剧中人林天素与杨云友、读者黄媛介于一线,统戏剧作品、批评接受于一体,成为了明清戏曲批评的重要组成。
Li Yu's romantic play Yizhongyuan comes prefaced and commented on by a special woman reader of his, Huang Yuanjie. Huang's comments contained her understanding of dramatic art and discussed the dramatic language, plots, structure and characters, bridging the readers with the playwright and his work. However, Huang also shared interpretations based on her personal attitudes and experiences. From the perspective of the reading experience and referring to her own life experiences, she attempted to reflect on and discover the self and self appreciation, making Huang's criticism a unique proportion in the corpus of the Ming and Qing dramatic criticism.
出处
《戏剧艺术》
CSSCI
北大核心
2016年第3期59-66,共8页
Theatre Arts
基金
江苏省哲学社会科学重大项目<江苏戏曲文化史研究>(项目编号:13ZD008)阶段性研究成果
太原理工大学校基金重点资助项目<女性戏曲文化心理研究>(项目编号:1205-04020202)阶段性研究成果
关键词
黄媛介
《意中缘》戏曲批评
戏曲接受
Huang Yuanjie
Yizhongyuan
dramatic criticism
dramatic reception