清代仕宦文人韩锡胙剧作戏曲理论解读

The Interpretation of Official Literati Han Xizuo’s Opera and Drama Theory in Qing Dynasty

清代康乾时期,一生为官的韩锡胙十分重视戏曲的教化功能,因此在创作时更加在意对场上演出的编排。其戏曲理论观点主要散见于《渔邨记》《砭真记》《南山法曲》三部剧作的序和批注中,在戏曲的创作方法、人物塑造、舞台搬演等方面皆有深刻的见解。从情节和语言、人物的类型化与个性化、场上之曲的安排和舞台调度的设置等方面对韩锡胙的戏曲创作搬演理论进行探究,将其剧作与创作理论相结合,可以较为全面地探讨其戏曲编剧艺术与总体戏剧理论的暗合,以及在践行创作理论时其在戏曲创作中表现出的得与失。

During the Kang Qian period of the Qing Dynasty,Han Xizuo,who was an official all his life,attached great importance to the educational function of opera,so he paid more attention to the arrangement of on-the-spot performances in his creation.His views on opera theory were mainly scattered in the preface and annotation of the Yu Cun Ji,Bian Zhen Ji and Nan Shan FA Qu,and he had profound opinions on the creative methods,characterization and stage performance of opera.This paper probes into Han Xizuo’s dramatic creation and performance theory from the aspects of plot and language,the typification and individuality of characters,the arrangement of on-the-spot songs and the setting of stage scheduling.By combining his practice and creation theory,we can comprehensively explore the coincidence between his drama screenwriter art and the general drama theory,and the gains and losses in the drama creation when practicing the creation theory.