《〈曲海总目提要〉新编》缘起、性质、渊源与提要体评介、曲概念认识、曲目提要编纂

A New Edition of A General Summary of Drama Catalogues ——Origin, Nature, Source and A Review of Summary Styles, Concept Recognition and Catalogue Compilation

《〈曲海总目提要〉新编》课题的首席专家长期研究中国戏曲史和戏曲文献,从2008年开始,即着手对《曲海总目提要》进行整理和研究,经过多年的思考和摸索,认为很有必要在《曲海总目提要》的基础上对所谓曲类作品、论著再做全面系统的清理和总结。该课题不是地域性曲籍或更专门的诸如曲谱、曲语的偏秘研究,而是曲的普遍意义的通行文献的研究,是对自宋元以来已有的曲学研究和曲目提要进行历史的检讨和反思,也是对曲学研究现状的考量和审视,更是对将来曲学研究提出一种总体认识和战略预见。黄文旸、管庭芬、董康、傅惜华以及王季烈、郭精锐、郭英德、李修生等在曲目提要撰写方面做出了重要贡献。"提要"之名虽比较晚出,但包含它的核心因素的一些体式像序跋之类早就存在了。作为一个已获得普遍认同的文献术语,从国家层面获得大幅度提升并带来横空出世影响的则是清乾隆时编《〈四库全书〉总目提要》,此使"提要"一词迅速引起学界注意,提要体各家各派竞相仿效,文人士夫趋之若鹜,一度成为学界翘首瞩目的显学。自此往后,提要犹如雨后春笋不仅成为一种重要的学术体式,也出现了许多专门的提要体著作。该课题所说的曲就是包括戏曲、散曲、曲艺、小曲在内的全部曲体。这种观念差异反映在曲目提要撰写上,即戏曲提要最多,散曲提要次之,曲艺和小曲提要非常罕见甚至属于空白。即使戏曲提要也全以古典戏曲为对象。我们认为这些提要在中国曲学史上都具有非常可贵的开创和建设意义,所取得的成就是不能忽视、不能低估的,对曲学整理和研究都起到了极为重要的促进和推动作用,价值独特,影响深远。

The chief expert of the project-A General Summary of Drama Catalogues(New Edition)-has been studying the history and literatures of Chinese opera for a long time. Since 2008, he has started to systematize and study A General Summary of Drama Catalogues(New Edition). After years of thinking and exploration, he opines that it is necessary to comprehensively and systematically clean up and summarize so-called dramatic plays and relevant critical works on the basis of A General Summary of Drama Catalogues. This project is not a regional book on or a more specialized study of the secrecy of music, such as music score and language, but a study of the popular literature of the universal significance of music. It is not only a historical review of and reflection on the existing research and summary of music since the Song and Yuan Dynasties but also a consideration and examination of the current situation of the study of music and above all a general understanding and strategic prediction of the prospective study of music. Huang Wenyan, Guan Tingfen, Dong Kang, Fu Xihua, Wang Jilie, Guo Jingjie, Guo Yingde and Li Xiusheng have made important contributions to the compilation of drama catalogue synopsis. Although the name of a "synopsis" is relatively late, some of the stereotypes that contain its core factors have existed for a long time. As a widely accepted literary term, it was A Synopsis of the General Catalogues for Siku Quanshu compiled during emperor Qianlong’s reign in the Qing Dynasty that has greatly promoted it at the national level and brought about its great influence, thus having soon brought the term "summary" to the attention of the academic circles. As such, various schools of synopsis styles followed suit, and scholars zealously devoted themselves to its study, thereby making it the most conspicuous hot topic in the academic circles. Since then, the synopsis has mushroomed into an important academic style, and many specialized works on synopses have been published. The opera mentioned in this project is the entire forms of dramatic writings, like opera, Sanqu, Quyi and Xiaoqu, etc. This concept difference is reflected in the compilation of drama catalogue summaries, that is, the opera has most summaries, followed by Sanqu;while Quyi and Xiaoqu have rare or even no summaries. And even the synopsis of opera should be linked with classical opera. As believed, these summaries have very valuable pioneering and constructive significance in the history of Chinese music studies, so the achievements can not be ignored or underestimated, for they have played an extremely important role in promoting and facilitating the collection and study of opera for their unique value and far-reaching impact.