汤世潆《东厢记》的剧本形态暨戏剧观念

The Script Form and the Drama Concept of Romance of the Eastern Chamber by Tang Shiying

晚清戏曲家汤世潆的《东厢记》是一部“以续代反”的《西厢记》翻案之作。对《西厢记》反其道而行之的创作动机,使其采取了文法反照和变换方式进行剧本的构建,在立意和结构上均呈现出僵化、谨严的特点。针对戏曲创作史“蜕变期”剧坛存在的情节老套、曲词浅薄等弊端,作者和评点者提出了应对方法,但根深蒂固的文法观念,使其无法突破“从剧法入,从文法出”的怪圈。剧本在实体构成和撰写方式上,均以文章法则为依据,反而加深了对戏剧本体的伤害及文体规范的破坏。

Romance of the Eastern Chamber by Tang Shiying in late Qing dynasty is a new play expanded as the different continuum of Romance of the Western Chamber.Intended as a version to reconstruct the original play,Tang’s play adopted the different writing strategies to construct the play like reversing the plot and changing the style.However,the writing purpose and structure were criticized as rigid and rigorous.Against the disadvantages of the clichéplot and the shallow lyrics in the“transition period”of the traditional Chinese opera writing history,the playwright and critics proposed a relevant solution,but the deep-rooted concept made it impossible to break through the strange circle of“entering from the script rule and deriving from the writing rule”.The composition and writing method of the script are based on the rules of the writing,which undermine the drama and the stylistic norms.