祁彪佳戏曲风格品评体制研析

A Discussion of Qi Biaojia's Evaluation System of Folk Opera Styles

戏曲批评作为中国古典艺术批评理论的重要组成部分,其批评形态、表达方式不可避免地会受到古代文学与其他门类艺术批评的影响。明代祁彪佳《远山堂曲品》《远山堂剧品》相关戏曲作家、剧作风格的品评,结合戏曲艺术创作实践与特殊性,对创作风格的差异与成就高下进行品评,提出了"妙""雅""逸""艳""能""具"六品体制,不仅是对古代"分级品第"批评方式的一脉相承,而且极富创造性地将古代文学艺术风格品评推向了新的高度,进一步巩固并发展了中国古典文学艺术批评传统,彰显了中国古典艺术批评理论的民族特色。本文对比吕天成《曲品》对祁彪佳提出的六品体制作了深入系统的分析,旨在加强对其品评标准、分品视角以及品评方式等方面的认识和理解。

As an important part of Chinese classical art theories of criticism, theatrical criticism is inevitably impacted by the criticism of Chinese ancient literature and others art categories in terms of critical form and expression means. In Ming Dynasty, Qi Biaojia's evaluation of opera writers and their writing styles in his books Yuan Shan Tang Critique on Opera and Yuan Shan Tang Critique on Theatre, focusing on their style difference and personal achievement, proposed 6 grades of evaluation, i.e. miao, ya, yi, yan, neng, ju. In line with the ancient criticism method of 'quality-based grading', it also creatively pushed the artistic style evaluation of ancient literature to new heights, fur ther consolidated and promoted the art criticism traditions of Chinese ancient literature, and demonstrated the ethnic characteristics of classical art criticism theories. In comparison with Lu Tiancheng's Critique on Opera, this essay conducts an in-depth systematic analysis on Qi Biaojia's 6 grades of evaluation in order to reinforce our knowledge and understanding of his evaluation standards, grading perspectives and ways of evaluation.