从“画工”说到“化工”说——明嘉、隆时期戏曲理论的转变

Transformation of Drama Theories from Reign of Emperor Jiajing to Emperor Longqing in the Ming Dynasty

明嘉、隆时期戏曲理论家就《西厢记》《拜月亭》《琵琶记》的戏曲地位展开论争。何良俊从"本色语"角度推崇《拜月亭》而打破《西厢记》"天下夺魁"的首尊地位,此为戏曲理论的"画工"说阶段;王世贞、王骥德等从《拜月亭》有"三短"以及戏曲"本色"角度认为《琵琶记》《西厢记》高于《拜月亭》,此为从"画工"说向"化工"说的过渡阶段;李卓吾以"化工"与"画工"说使《西厢记》再次"天下夺魁",此为"化工"说阶段。从"画工"说到"化工"说是戏曲理论的自然演变行为,也是这场论争思辩与碰撞的结果。

During Ming Dynasty from Jiajing to Longqing periods the theorists of opera debated the status of the opera in Xixiangji , Baiyueting and Pipaji .He Liang-jun advocated Baiyueting from the perspective of bense language and broke the “world champion”of Xixiangji ,which is the stage of huagong (画工)in the theory of opera;Wang Shi-zhen and Wang Ji-de believed that Pipaji and Xixiangji were higher than Baiyueting from the perspective of Baiyueting’s “three short”and bense of opera.This is the transition from huagong (画工) theory to huagong (化工) theory;Li Zhuo- wu’s huagong (化工) and huagong (画工) theory make Xixiangji once again “world champion”,this is the huagong (化工) stage.The theory from huagong (画工) to huagong (化工) is the natural evolution of opera,but also the result of this debate and collision.