论李渔《巧团圆》人物设置的舞台性

On the Stage Character of the Characters in Li Yu's The Coincidental Family Reunion

《巧团圆》于康熙七年(1668年)脱稿,是唯一一部李渔在家班女乐存在期间创作的戏曲,其创作深受家班女乐实践活动的影响。李渔批判地继承了前人王骥德的《曲律》等的理论成果,并且结合当时的实际情况,根据自己丰富的创作经验和家班舞台实践经验,以舞台演出效果和观众这两个为核心出发点,认为戏曲创作是专为舞台演出的。与李渔的其它戏曲相比,《巧团圆》在人物设置上具有独特的舞台性。

was completed in Kangxi the seventh years （1668） and it wusthe only opera created by Li Yu during the existence of home owned actress, which was influenced deeply by the practice of home owned actress. Li Yu critically inherited the previous theoretical results of Wang Jide’s andcombined with the actual situation, he though the drama was created for stage performance with the two cores of the performance on the stage and audience according to his rich creating experience and the practice of the home owned stage. Compared with other operas of Li Yu, has a unique stage character in thecharacter setting.