摘要
明清戏曲理论和创作中存在一种倾向,集中体现为"宗元"观念,即奉元代戏曲为文体的最高标准和典范形态,以之建构戏曲话语范式,指导新的创作,审视戏曲史现象。"宗元"观念的复杂表现及多元形态深刻影响了明清戏曲的创作与文体变迁,制约了中国古典戏曲理论的特性生成乃至发展走向。同时期诗文领域诸复古流派的此消彼长、复古与反复古思潮的相互激荡,也对戏曲创作和批评产生了影响。明清戏曲的文体变迁、审美选择及理论特征,均可借助"宗元"视角进行考察。
The theories and creations of Chinese operas in the Ming and Qing dynasties display the tendency of“Zongyuan”Concept,which means to take the operas of the Yuan Dynasty as the highest standard and typical form of Chinese operas,and thus construct the discourse paradigm of Chinese operas,direct new creation,and review the history of operas.The complex expression and diversified forms of“Zongyuan”concept profoundly influenced the creation and stylistic changes of operas in the Ming and Qing dynasties,and restricted the characteristic growth and development direction of the classical theory of Chinese operas.At the same time,the alternate dominance of various retro styles and the competition between retro and anti-retro styles in the field of poetry and writing in the same period also exerted an influence on the creation and criticism of operas.The changes in style,aesthetic choices and theoretical features of operas in the Ming and Qing dynasties could all be reviewed with the help of“Zongyuan”perspective.
出处
《中国社会科学》
CSSCI
北大核心
2018年第3期184-204,209,共22页
Social Sciences in China
基金
国家社会科学基金一般项目"明清戏曲宗元研究"(项目编号11BZW061)系列成果之一
