从曲牌联套体到板腔体——论明清时期戏曲文学的解放与自律

From “United Set of Qu Pai Style” to “Plate and Cavity Style”:Emancipation and Self-discipline of Chinese Opera Literature in Ming and Qing Dynasties

以往学界探讨曲牌体和板腔体,大多是从音乐的角度切入,缺少文学层面的观照。实际上,戏曲曲体演变这一问题涉及戏曲文学创作的体制变化。从唱词写作的角度探讨这两种曲体的沿革、发展和更替,可以帮助我们厘清明清戏曲转变背后的真实内因,了解这两种曲体变化对戏曲文学创作产生的影响及意义。这一探讨,也可以为当下的戏曲创作实践提供有益的借鉴和启发。

When we discuss"Qu Pai Style"and"Plate and Cavity Style"in academia,people always focus on the music aspect and ignores the literature aspect.The evolution of Chinese Opera's music forms is related to the change in systematic styles.By discussing evolution,development,and substitutions in these two styles,we can clarify the internal causes behind changes in Chinese opera in Ming and Qing dynasties.Therefore,we can understand the influence and significance of those two styles'evolution on the Chinese Opera literature creation.This discussion can also provide useful reference and inspiration for today's practice of Chinese Opera creation.