晚明南京剧坛研究
发布时间：2018-08-28 20:03
【摘要】： 南京在晚明众多城市中具有特殊的地位，它不但是南部中国的政治、文化和商业中心，也是联系南北的枢纽，是都市剧坛的代表。晚明南京戏曲演出极为繁荣，表现出形式多样，参与面广，声腔丰富，演技高超等特点。南京也是戏曲家、各类演员和出版家云集的地方，戏曲演出的繁荣，推动了戏曲创作和戏曲理论总结的发展，尤其刺激了戏曲刊刻业的兴旺。本文以“晚明南京剧坛”作为研究对象，全文共七章，围绕着南京的戏曲演出，综合考察南京剧坛的各个方面，包括戏曲家活动，作品创作，理论总结以及戏曲刊刻之间相互促进的关系，从而对于南京这一座城市在明清戏曲发展和流变中所处的重要地位给予准确的评价。 绪论部分阐述了论题的意义、论述对象，分析了目前的研究现状，总结了本课题的特色和创新之处。 第一章论述文士在南京的戏曲活动，以地域为经，以时间为纬，以文人社集为链接点勾勒出晚明戏曲家尤其是江南一带的戏曲家在南京的活动，，以初盛、再盛和极盛、尾声四个阶段勾勒出晚明南京戏曲家盛会的概况，揭示其在戏曲史上的意义和影响。 文士与歌姬的交往在中国戏曲创作和演出史上一直具有重要的作用。二者的密切往来对于提高歌姬戏曲表演的水平具有直接的作用，同时，浪漫的情事也成了文士创作戏曲的重要题材和动力。本文第二章论述文士与青楼歌姬秦淮结缘对于戏曲发展的意义，以王zI登和马湘兰；梁辰鱼、张献翼和潘之恒以及崇祯年间复社文士与南京艺伎交往等作为重点考察对象。 晚明南京演剧形式别具特色，雅集演出和宴会演出是最常见的两种形式，其场面之大，参与之广和技艺之高在江南众多城市中是屈指可数的。曲宴这种特别的形式受到文士们的追捧和欢迎，它的出现具有特殊的价值。南京作为南、北都会，也是各类声腔争奇斗艳的场所，尤其值得一提的是，南京不仅对昆曲的传播起到很大作用，也为北曲传承作出了贡献。在昆曲全方位覆盖江南，以绝对优势取得了剧坛垄断地位的形势下，南京能够为北曲遗音留下最后一块阵地，其意义也非同小可。 第四章主要是从青楼演员、家班、职业班社和演员以及串客等四方面着手探讨晚明南京的演员情况。晚明南京演员构成复杂，既有本地培养的娈童和歌姬，也有各地职业戏班演员和串客云集此地，他们阵容强大，表演技艺全面。以青楼演员最为出色，因自幼接受严格的训练，她们具备了成为优秀演员的基本素养，加上后天的努力，使得这些身份卑微而才情出众的女演员成长为南京剧坛上的奇葩，但是她们的艺术生命也极其短暂，往往是昙花一现。家班演员依附性较强，他们的身份很难确认，但也是南京剧坛不可或缺的人物，在家班主人的培养下，为戏曲演出的繁盛作出了自己的贡献。南京也是数十部戏班的聚集地，来自各地的演员在南京这个大舞台上尽情施展才艺，造成了南京戏曲演出的繁荣局面，也促进了各地戏曲表演、各类声腔间的交流和融合。 晚明南京本地戏曲作家的创作水平稍弱于寓居作家，其中两部传奇《双凤记》和《双烈记》均以历史人物的发迹抒写不得志情怀，主观色彩比较浓厚；杂剧《陌花轩》和崇祯年间问世的反阉时事剧《喜逢春》则以关注现实，批判性较强而著称。寓居作家中以汤显祖和阮大铖成就最高，二人在南京寓居期间都有创作，汤显祖的《紫钗记》是《临川四梦》中最早问世的一部，对其后期创作影响较大。阮大铖存世的《石巢四种》中有三部作品在南京及周边诞生，很多情节是其南都经历的艺术写照，表现出较强的自娱性和影射性，也显示了非凡的艺术创造力。 相对于演剧和创作的繁荣，南京的戏曲理论总结也有重要的贡献，尤其是围绕着戏曲表演和创作而总结的“本色论”，“导演论”和“悲喜剧”等理论，在晚明剧坛别树一帜，这些理论的形成很大程度上得益于在南京的戏曲实践活动，由此作为南京在戏曲理论方面的贡献，又反过来指导实际演出，表现出了演出和理论总结紧密结合的特点。 长时期以来，南京作为晚明戏曲的刊刻中心，一直受到人们的重视，有较多的研究成果，本文第七章除了介绍本地书坊的戏曲刊刻成就，和外地书坊对于南京剧坛戏曲刊刻也的贡献外，还重点讨论南京戏曲刊刻兴盛的原因及对于其他戏曲活动的影响。 此外，本文附录以编年的形式勾勒出晚明剧坛戏曲活动的大致历程和主要事件。
[Abstract]:Nanjing has a special position in many cities in the late Ming Dynasty. It is not only the political, cultural and commercial center of southern China, but also the hub linking the north and the south. It is the representative of the urban theatre. The prosperity of opera performances and the gathering of members and publishers promoted the development of opera creation and the summary of the theory of opera, especially stimulated the prosperity of opera publishing and carving. This paper takes "Nanjing Opera Circle in the Late Ming Dynasty" as the research object, with a total of seven chapters. It makes a comprehensive study of all aspects of Nanjing opera circle, including the opera artists, around the performance of Nanjing opera. Activities, works creation, theoretical summary and the relationship between the publication and engraving of operas promote each other, so as to give an accurate evaluation of the important position of Nanjing in the development and evolution of Ming and Qing operas.
The introduction explains the significance of the topic, discusses the object, analyzes the current research situation, and summarizes the characteristics and innovations of this topic.
The first chapter discusses the activities of the literati in Nanjing, taking the region as the longitude, the time as the latitude, and the literati community as the link point to outline the activities of the late Ming opera writers, especially those in the south of the Yangtze River, in Nanjing. The fourth chapter outlines the grand gatherings of the late Ming Nanking Opera writers in four stages, namely, the early prosperity, the second prosperity and the extreme prosperity. Significance and influence.
The contacts between literati and Gejie have always played an important role in the history of Chinese opera creation and performance.The close contacts between them have a direct effect on improving the performance level of Gejie opera.At the same time,romantic affairs have become an important theme and motive force for literati to create operas.The second chapter of this paper discusses the bond between literati and Qinglou Gejie Qinhuai. For the significance of the development of opera, Wang ZIden and Ma Xianglan, Liang Chen-yu, Zhang Xianyi and Pan Zhiheng, and the association between Fu She literati and Nanjing geisha during the reign of Chongzhen were the focus of the study.
In the late Ming Dynasty, Nanjing opera had its own characteristics. Elegant performance and banquet performance were the two most common forms. The large scene, the wide participation and the high skill were few in many cities in the south of the Yangtze River. It is also a place where all kinds of voices compete with each other. It is worth mentioning that Nanjing not only plays a great role in the spread of Kunqu Opera, but also contributes to the inheritance of Beiqu Opera. Be no trivial matter.
The fourth chapter mainly discusses the actors of Nanjing in the late Ming Dynasty from four aspects: the actors of Qinglou, the classes of families, the professional classes, the actors and the guests. Most outstanding, because they received strict training from an early age, they have the basic qualities to become outstanding actors, coupled with the acquired efforts, so that these humble and talented actresses grow into the wonderful Nanjing opera world, but their artistic life is extremely short, often flash in the pan. Nanjing is also the gathering place of dozens of theatrical troupes. Actors from all over the country give full play to their talents on the grand stage of Nanjing, causing the prosperity of Nanjing opera performance and promoting it. He has entered various theatrical performances and exchanged and fused all kinds of vocal tunes.
The writing level of local opera writers in Nanjing in the late Ming Dynasty was slightly weaker than that of resident writers. The two legends, Shuangfengji and Shuanglieji, were both characterized by their historical characters'deeds and strong subjective colors, while the dramas "Mohua Xuan" and "Happy Spring" were famous for their attention to reality and criticism. Tang Xianzu and Ruan Darong were the most successful living writers, both of whom created works during their residence in Nanjing. Tang Xianzu's Zichai is the earliest one in Linchuan's Four Dreams, which has a great influence on his later works. Ruan Darong's three works in and around Nanjing were born, and many plots are the art that his southern capital has experienced. The portrayal of art shows strong self amusement and innuendo, and also shows extraordinary artistic creativity.
Relative to the prosperity of drama and creation, Nanjing's drama theory has also made important contributions, especially the theories of "nature", "director" and "tragicomedy", which are summarized around the performance and creation of drama, have established a school of its own in the late Ming Dynasty's drama circle. The formation of these theories is largely due to the practice of Nanjing's drama. As Nanjing's contribution to the theory of opera, and in turn directing the actual performance, it shows the close combination of performance and theoretical summary.
For a long time, Nanjing, as the publishing and Engraving Center of operas in the late Ming Dynasty, has attracted much attention and has made a lot of research achievements. Chapter 7 of this paper not only introduces the achievements of local bookstores in the publishing and engraving of operas, but also discusses the reasons for the prosperity of Nanjing opera engraving and its contribution to other operas. The influence of music activities.
In addition, the appendix of this paper outlines the general course and major events of drama activities in the late Ming Dynasty in the form of chronology.
【学位授予单位】：华东师范大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：K248.3;J809.2
本文编号：2210469
[Abstract]:Nanjing has a special position in many cities in the late Ming Dynasty. It is not only the political, cultural and commercial center of southern China, but also the hub linking the north and the south. It is the representative of the urban theatre. The prosperity of opera performances and the gathering of members and publishers promoted the development of opera creation and the summary of the theory of opera, especially stimulated the prosperity of opera publishing and carving. This paper takes "Nanjing Opera Circle in the Late Ming Dynasty" as the research object, with a total of seven chapters. It makes a comprehensive study of all aspects of Nanjing opera circle, including the opera artists, around the performance of Nanjing opera. Activities, works creation, theoretical summary and the relationship between the publication and engraving of operas promote each other, so as to give an accurate evaluation of the important position of Nanjing in the development and evolution of Ming and Qing operas.
The introduction explains the significance of the topic, discusses the object, analyzes the current research situation, and summarizes the characteristics and innovations of this topic.
The first chapter discusses the activities of the literati in Nanjing, taking the region as the longitude, the time as the latitude, and the literati community as the link point to outline the activities of the late Ming opera writers, especially those in the south of the Yangtze River, in Nanjing. The fourth chapter outlines the grand gatherings of the late Ming Nanking Opera writers in four stages, namely, the early prosperity, the second prosperity and the extreme prosperity. Significance and influence.
The contacts between literati and Gejie have always played an important role in the history of Chinese opera creation and performance.The close contacts between them have a direct effect on improving the performance level of Gejie opera.At the same time,romantic affairs have become an important theme and motive force for literati to create operas.The second chapter of this paper discusses the bond between literati and Qinglou Gejie Qinhuai. For the significance of the development of opera, Wang ZIden and Ma Xianglan, Liang Chen-yu, Zhang Xianyi and Pan Zhiheng, and the association between Fu She literati and Nanjing geisha during the reign of Chongzhen were the focus of the study.
In the late Ming Dynasty, Nanjing opera had its own characteristics. Elegant performance and banquet performance were the two most common forms. The large scene, the wide participation and the high skill were few in many cities in the south of the Yangtze River. It is also a place where all kinds of voices compete with each other. It is worth mentioning that Nanjing not only plays a great role in the spread of Kunqu Opera, but also contributes to the inheritance of Beiqu Opera. Be no trivial matter.
The fourth chapter mainly discusses the actors of Nanjing in the late Ming Dynasty from four aspects: the actors of Qinglou, the classes of families, the professional classes, the actors and the guests. Most outstanding, because they received strict training from an early age, they have the basic qualities to become outstanding actors, coupled with the acquired efforts, so that these humble and talented actresses grow into the wonderful Nanjing opera world, but their artistic life is extremely short, often flash in the pan. Nanjing is also the gathering place of dozens of theatrical troupes. Actors from all over the country give full play to their talents on the grand stage of Nanjing, causing the prosperity of Nanjing opera performance and promoting it. He has entered various theatrical performances and exchanged and fused all kinds of vocal tunes.
The writing level of local opera writers in Nanjing in the late Ming Dynasty was slightly weaker than that of resident writers. The two legends, Shuangfengji and Shuanglieji, were both characterized by their historical characters'deeds and strong subjective colors, while the dramas "Mohua Xuan" and "Happy Spring" were famous for their attention to reality and criticism. Tang Xianzu and Ruan Darong were the most successful living writers, both of whom created works during their residence in Nanjing. Tang Xianzu's Zichai is the earliest one in Linchuan's Four Dreams, which has a great influence on his later works. Ruan Darong's three works in and around Nanjing were born, and many plots are the art that his southern capital has experienced. The portrayal of art shows strong self amusement and innuendo, and also shows extraordinary artistic creativity.
Relative to the prosperity of drama and creation, Nanjing's drama theory has also made important contributions, especially the theories of "nature", "director" and "tragicomedy", which are summarized around the performance and creation of drama, have established a school of its own in the late Ming Dynasty's drama circle. The formation of these theories is largely due to the practice of Nanjing's drama. As Nanjing's contribution to the theory of opera, and in turn directing the actual performance, it shows the close combination of performance and theoretical summary.
For a long time, Nanjing, as the publishing and Engraving Center of operas in the late Ming Dynasty, has attracted much attention and has made a lot of research achievements. Chapter 7 of this paper not only introduces the achievements of local bookstores in the publishing and engraving of operas, but also discusses the reasons for the prosperity of Nanjing opera engraving and its contribution to other operas. The influence of music activities.
In addition, the appendix of this paper outlines the general course and major events of drama activities in the late Ming Dynasty in the form of chronology.
【学位授予单位】：华东师范大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：K248.3;J809.2
【引证文献】
相关硕士学位论文 前1条
1 陈嫣;明代组剧简论[D];北京大学;2008年
本文编号：2210469
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