【作者】 王苏生；

【导师】 延保全；

【作者基本信息】 山西师范大学 ， 戏剧戏曲学， 2014， 博士

【摘要】 本文从“戏曲学”问题基点出发，考辨其理论缺乏的原因所在，以为戏曲观的模糊是关键问题。要解决这一问题，必须重视戏曲观研究。因为，一个戏曲学家选择什么戏曲历史材料，采取什么叙述结构，确立什么逻辑推理，得出什么结论看法，“戏曲观”的作用不可小觑。但是，怎样进行戏曲观究呢？必须从古代戏曲观念史的考察入手。只有在“以史为鉴”中，我们才能真正把握戏曲的当下和未来。然而，要描述中国古代戏曲观，实非易事。一方面由于古人的戏曲观已成过去，实难捕捉还原；另一方面即使有文献存在，也纷繁庞杂而很难整体呈现。怎么办？我们以为，“古代学人”是一个特殊的视角。“古代学人”既是统治阶级中的一员，又常居于被统治阶级之首，具有连接上下层的天然功能。他们的戏曲观交织着庙堂之上与民间之下的各种情缘。所以，通过“古代学人”来考察古代戏曲观是本文的基本思路和方法。本文基本内容是，以“古代学人戏曲观”为逻辑起点，以中国古代戏曲学著作为平台，以“戏何谓”（本质、本源论）和“戏曲何为”（功能、作用论）为焦点，在诗学与戏论两个层面上，梳理中国古代学人戏曲观的生成与演进，力求描绘出一幅从两汉到晚清的“古代戏曲观”的谱系。一共由九章、导论和余论组成。导论《寻找“戏曲学”的问题基点》，主要对论题缘起、研究现状、基本方法、思路框架和创新意义等问题进行说明；第一章《“古代学人戏曲观”之界定》，主要对“古代学人戏曲观”这一概念做学理上的规范，以确定我们的论题的研究边界；第二章《“戏”“乐”先在：“伎艺”之“泛戏剧观”》，主要对从两汉到唐宋的“泛戏剧观”进行梳理和研究；第三章《“歌”“舞”接续：“声色”之表演戏曲观》，主要对元代部分学人的技艺一体、声色唯尚的表演戏曲观进行梳理和研究；第四章《“诗”“教”转向：“尊体”之诗学戏曲观》，主要对元代、明初部分学人的诗曲一体、教化为主的诗学戏曲观进行梳理和研究；第五章《“辞”“律”摇摆：“辨体”之曲学戏曲观》，主要对有明一代大部分学人的诗曲之辨、音律双美的曲学戏曲观进行梳理与研究；第六章《“风”“月”回归：“得体”之剧学戏曲观》，主要对晚明学人剧戏一体、登场为本的剧学戏曲观进行梳理和研究；第七章《“案”“场”并行：“总结”之综合戏曲观》，主要对清初期、中期学人的诗学、曲学、剧学一体、总结为上的综合戏曲观进行梳理和研究；第八章《“花”“雅”较量：“乱弹”之民间化戏曲观》，主要对清中晚期学的舞台表演为主、花部“乱弹”唯尚的“民间化”戏曲观进行梳理和研究；第九章《“戏”“曲”一体：“会通”之现代戏曲观》，主要对晚清学人的中西会通为本的现代戏曲观进行梳理与研究。余论《“戏曲观”研究之续想》，主要思考“戏曲观”研究的学理价值和历史意义等问题。总之，观念史是人类思想的历史，古代戏曲观念史也是中国古人感受和反思戏曲艺术的历史。一旦把中国古代戏曲观念的嬗变进程勾勒清晰，无疑会为整个现代戏曲理论研究注入生机，成为戏曲学中新的学术增长点。种种事实表明戏曲观研究将有助于我们对戏曲本质、本源和存在方式的认知，使我们更准确地把握戏曲的美学特征与形体规范，对戏曲舞台具有重要的指导意义，也对于戏曲欣赏、接受有重要的促进作用，尤其在戏曲“夕阳西下”的今天，更具有其他戏曲研究不可替代的超越意义。更多还原

【Abstract】 Based on the basic issues of the studies of traditional Chineseopera, this thesis tries to analyze the causes to the deficiency inthe Chinese opera theories. It maintains that the core problem liesin the fact that many dramatists have some sort of vague idea aboutopera theory. Therefore, researchers in this field have to payattention to the studies on Chinese dramatists’ idea of opera, whichplays critical role when dramatists choose historic materials andways of narration, make the stories develop, and draw their viewsupon the operas. Then how can the researchers carry on the studyon the dramatists’ idea of opera? We believe the study should bestarted from the analysis on the history of the ideas. Only by takinghistory as a mirror can we seize and look into the future of Chineseoperas.Nevertheless, to describe the ideas of opera in ancient Chinawill not be easy. On one hand, the ancients and their ideas of operahas been past, making it hard to restore; on the other, the existinghistorical documents are diverse and complicated, making it hardto study them on a whole.Accordingly, the thesis tries to approachthe problem from the perspective of ancient Chinese intellectuals.Ancient Chinese intellectuals can be classified as both ruling class and the ruled class. The duality in their identity can enrich theirperspectives. Therefore, the basic idea and method of this thesis isto study the ancient Chinese idea of opera through the perspectiveof ancient Chinese intellectuals.This thesis focuses on the essence and function of traditionalChinese opera, aiming at describing the way in which the ancientChinese intellectuals’ idea of opera generated and developed andmapping the features of different ideas about Chinese opera fromWestern Han and Eastern Han Dynasty to late Qing Dynasty.Besides the introduction and the epilogue, the thesis consists ofnine chapters.In the introduction, which entitled In Searching the Basic Pointsof the Studies of Traditional Chinese Opera, the background, therecent progress in the world of studies on traditional Chinese opera,and the thinking framework of the thesis are introduced. ChapterOne The Concept of the Ancient Chinese Intellectuals’ Idea ofOpera defines the basic concepts employed in the thesis. ChapterTwo The Preexistence of Drama and Music:“Artistic Skills (orJiyi)”and the General Ideas of Opera tries to establish the featuresof different ideas about Chinese opera from Two Han Dynasties andTang and Song Dynasties. Chapter Three Singing and Dancing:“Sound and Pleasure(or Shengse)”and the Performance Ideas ofOpera focuses on the intellectuals’ views on opera in Yuan Dynasty.Chapter Four Poetry and Education:“Exquisite Style (or Zunti)” andthe Poetic Ideas of Opera introduces the features and functions ofthe poetic ideas of opera in Yuan Dynasty and early Ming Dynasty.Chapter Five Diction and Temperament:“Style-discriminating (or Bianti)”and the Musical Ideas of Opera analyzes the ideas on operain Ming Dynasty. Chapter Six Ballads and Romance:“Appropriateness (or Deti)”and Drama Ideas of Opera discusses theintellectuals’ views on opera in late Ming Dynasty. Chapter SevenTable and Theater: The Comprehensive Ideas of Opera teases outthe specific ideas on opera in early and middle Qing Dynasty. InChapter Eight The Controversy of the Hua and Ya: The ChineseOpera Melodies (or Luantan) in the Qing Dynasty, differentintellectuals’ preferences for attractiveness and grace of opera inmiddle and late Qing Dynasty are discussed. Chapter Nine mainlyfocuses on the communication and mutual complementary betweenChinese and Western ideas on opera in late Qing Dynasty. In thepart of Conclusion, the theoretical values and historicalsignificance of the studies on the ideas of opera are summarized.All in all, the history of ideas is the history of human thought,and the ideas of opera in ancient China is a history which recordsthe ancient Chinese people’s feeling and reflection on theirtraditional opera. If we can clearly describe the features of ancientChinese intellectuals’ idea of opera in different historical stagegenerated and developed and mapping the features of differentideas about Chinese opera, it will inject new vitality to thetheoretical studies of Chinese opera.更多还原