论李渔的戏曲本位思想在剧本中的表现-中国古代文学专业论文.docxVIP

论李濑的戏曲本位思想柱剧本中的表现摘 论李濑的戏曲本位思想柱剧本中的表现 摘 要 睫末渍视憋李渔(笠翁)是～个比较复杂的戏夔家。人们黠毽 的评价分歧很大。他晚年撰写的《闲情偶寄》被学术界认为娥我国 戏蘧艺术特刘楚戏蔻灌论集大成懿总结，但是对缝的副本《笠翁卡 种曲》的看法却褒贬悬殊。贬之者认为“淫亵”、“媚俗”、“有恶趣”、 “浅薄寡昧”(梁启越语)，褒之者认为其剃作“实为～朝之冠”(吴 梅《中国戏啮概论》中语)。本文力求回避对李渔的剧作作过予简单 的定性评价，而是结合他的创作理论和创作实践，从他的戏曲本位 恩想切入，重毅打量冀剥{乍。本文谈淹，李渔鲍戏夔本位思想憋“舞 台、娱乐、观众”三位～体的，其剧本便是这种思想的完美体现。 德尉本中优美的舞台形态、鲜明豹舞台节奏、富于动{乍性的舞台语 言、～线至Ⅱ底的舞台布局，很好地体现了《闲情偶寄》中提出的“填 词之设，专为登场”的舞台本位思想。蒯本中纯熟地运用各种娱乐 表现手法，呈现出多姿多彩的娱乐情境，为他“一夫不笑是蠢忧” 的娱乐本位思想作出了生动的注解。剧本中大众化的取材、离奇的 测情、遽{谷的语言等，无不与鼹众的默赏习·夔、审美心瑾、接受水 平息息相通，避到了最广大市民观众的欢迎，使“天下妇人孺子无 不翔寿潮主笠翁者”，这无疑完美地俸现了李渔酌麓众本位惑怒。 美键词李渔 舞台本整 娱乐本经 观众本位 《笠翁十种曲》 鲨至垄丝壁些查丝星塑垄型奎主丝壅堡Abstract 鲨至垄丝壁些查丝星塑垄型奎主丝壅堡 Abstract Li Yu who lived in the late of Ming Dynasty was a something of complicated dramatist．There was very much difference in the commenting on him．His Xian Qing Ou Ji which was written in the late of his 1ife was looked as the summary of dramatic art and dramatic theory especially．But，Li Weng’s ten dramas was given very different comments．Someone who didn’t agree wim Li Yu said that Li’S WOrks were“obscence”、“catering vulgar”．“having dirty interesting”and “flimsiness and monotony”，while others thinking hi曲ly of Li Yu said that his works were the champion of all in that dynasty indeed．(quoted from Wu Mei’S Chinese dramatic summary theory)．This article will try hard to avoid to paste a simple label to the dramas of Li Yu for qualitative assess，and reread his dramas on the basis of conducting with his writing practice and theory and his selfish departmentalism．This article think Li Yu’S selfish departmentalism iS a trinity of stage，amusement and audience， and his dramas were the perfect presentation of this theory．The elegant shape of stage，the distinctive rhythm of stage，words full of motion and the arrangement with one thread to the end materialized his selfish departmentalism·--——---—— “Writing is just for Performing”，which was set out from Xian Qing Ou Ji．Using freely many methods ofpresenting amusement，Li Yu made his dramas appear a