民风视角下“临川四梦”研究.pdf

摘要 摘要 被誉为“东方莎士比亚”的明代戏剧家汤显祖为后人留下了宝贵的文学财 富，而其最耀眼的作品“临川四梦”（《牡丹亭》、《紫钗记》、《邯郸记》、《南柯 记》）它们代表着中国戏曲创作的高峰。 汤显祖不仅是一位伟大的剧作家，同时也是一位戏曲理论家。他十分重视 戏曲与观众之间的互动，将观众喜闻乐见的民间“状元负心”“还魂”“梦幻” 题材的传说故事进行文人化的再创作并搬上舞台，把李益、霍小玉、杜丽娘、 柳梦梅、淳于棼、卢生等一批原本只存在于平面文本中的痴男怨女搬上戏曲舞 台，以立体化的表演形式来生动诠释故事中的旨趣，丰富了民间艺术形式。而 从微观方面来看，“临川四梦”的细枝末节也都充斥着民俗韵味，汤显祖将百姓 身边最寻常最普遍的民间岁时节令文化纳入戏曲创作中，借助民俗节令的内涵 来帮助推进整本剧情发展与人物的塑造，同时充分考虑观众需求，在“临川四 梦”构建了一个人、鬼、神、蚁四界共处的奇异世界，极大地满足了百姓的猎 奇心理与涉异旨趣。 “临川四梦”中丰富的民俗内涵作为推进故事进程的手段与工具，让观众 在观剧过程中轻松找到情感共鸣，从而成就了“四梦”四百年流传不朽的神话。 关键词：临川四梦；汤显祖；民俗文化 万方数据 Abstract ABSTRACT Known as the Oriental Shakespeare,Tang Xianzu, a great dramatist of Ming Dynasty，left great literary and art treasure for later generation.His most famous work Linchuan Four Dreams (Purple Hairpin,The Peony Pavilion,Handan Dream,Nanke Dream) represents the most valuable achievement in Chinese drama creation. Tang Xianzu is not only a great opera writer, but also a drama theorist. He attached great importance to the interaction between the opera and the audience and adapted the folk legendary stories of Ungrateful Champion,Revival,Dream into kind of performing art,which are loved by large people.He made Li Yi, Huo Xiaoyu, Du Liniang, Liu Meng-mei ,Chunyu Fen , Lu Sheng and those who were only exist in text be alive, and conveys the purports of those folk stories to the audience in a three-dimensional way and enriches the forms of Chinese folk art.While observed