从朴素的剧场感言到系统的戏曲理论构架——中国古代戏曲评点的现实诠释
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摘要
中国古代戏曲的评点方式、评点风格和评点旨意与诗、文、小说等文体基本相同,但在内容上,戏曲评点则呈现以文本接受为基础,进而导引读者舞台接受的功能。从评点风格上看,早期戏曲的评点内容近乎观众的剧场感言,后期的评点内容则表现为各有侧重地构建系统的戏曲理论。除了指导读者的案头接受,中国古代的戏曲评点还有指导观众欣赏舞台艺术的功能。另外,从现存各戏曲评点本的评点形态和评点内容上看,后期的戏曲评点还表现出自觉遵依诗、文和小说等评点轨范的倾向。
The major styles,flavor & motives of the commentary of Chinese Ancient Opera were nearly the same as the traditional poems,prose and novels',but the major content of the commentary of T Chinese Ancient Opera had a lot of differences with the latter.The difference was that the commentary of Chinese Ancient Opera had a function in leading the readers to accept both the texts and the stages,but the commentary of Chinese Ancient Opera,prose & novels didn't have the same purposes.So many earlier styles of the commentary of Chinese Ancient Opera were just like the audience's sentiments so that they were faint in theory,but critics at a later stage constructed their theories purposively.In short,for the aims of theories construction,the commentary of Chinese Ancient Opera had to abide by the rules of the poems,prose & novels conscientiously.
The major styles,flavor & motives of the commentary of Chinese Ancient Opera were nearly the same as the traditional poems,prose and novels',but the major content of the commentary of T Chinese Ancient Opera had a lot of differences with the latter.The difference was that the commentary of Chinese Ancient Opera had a function in leading the readers to accept both the texts and the stages,but the commentary of Chinese Ancient Opera,prose & novels didn't have the same purposes.So many earlier styles of the commentary of Chinese Ancient Opera were just like the audience's sentiments so that they were faint in theory,but critics at a later stage constructed their theories purposively.In short,for the aims of theories construction,the commentary of Chinese Ancient Opera had to abide by the rules of the poems,prose & novels conscientiously.
引文
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[5]齐森华,等.中国曲学大辞典[M].杭州:浙江教育出版社,1997.
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[11]毛声山.镜香园毛声山评第七才子书·总论[M]∥镜香园毛声山评第七才子书.上海图书馆藏清三益堂印本.
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[13]王世贞.曲藻[M]∥中国古典戏曲论著集成(四).北京:中国戏剧出版社,1959.
[14]高永江.论古典戏曲的“意境”——兼谈古代戏曲与古代小说及其诗歌的区别[J].重庆师范大学学报(哲学社会科学版),2011(6):69.
[2]朱万曙.明代戏曲评点研究[M].合肥:安徽教育出版社,2004.
[3]李克.近百年清代戏曲评点研究综述[J].戏曲艺术,2010(2).
[4]焦偱.花部农谭[M]∥中国戏曲研究院.中国古代戏曲论著集成(八).北京:中国戏剧出版社,1959.
[5]齐森华,等.中国曲学大辞典[M].杭州:浙江教育出版社,1997.
[6]王骥德.新校注古本西厢记(卷六)[M].国家图书馆藏明万历四十二年王氏香雪居刻本.
[7]金圣叹批本.《西厢记》[M].上海:上海古籍出版社,1986.
[8]冯镇峦.读《聊斋》杂说[M]∥张友鹤辑校.聊斋志异(会校会注本).上海:上海古籍出版社,1986.
[9]封溪浮云客子.第七才子书序[M]∥镜香园毛声山评第七才子书.上海图书馆藏清三益堂印本.
[10]李渔.闲情偶寄·词曲部·格局第六·填词余论[M]∥中国古典戏曲论著集成(七).北京:中国戏剧出版社,1959.
[11]毛声山.镜香园毛声山评第七才子书·总论[M]∥镜香园毛声山评第七才子书.上海图书馆藏清三益堂印本.
[12]王骥德.曲律·卷四·杂论第三十九下[M]∥中国古典戏曲论著集成(四).北京:中国戏剧出版社,1959.
[13]王世贞.曲藻[M]∥中国古典戏曲论著集成(四).北京:中国戏剧出版社,1959.
[14]高永江.论古典戏曲的“意境”——兼谈古代戏曲与古代小说及其诗歌的区别[J].重庆师范大学学报(哲学社会科学版),2011(6):69.