明清戏曲美学范畴研究

【作者】 王德兵；

【导师】 佴荣本；

【作者基本信息】 扬州大学 ， 文艺学， 2014， 博士

【摘要】 范畴研究是当今理论学界研究的热点话题,也是难点问题。作为戏曲艺术理论基础的美学范畴更是如此。戏曲美学范畴的研究首先要提炼出能够代表某一时代美学特点的范畴群或系列范畴作为自己的研究对象。本文就是属于断代史范畴群的专题研究类型,即以明清时期的戏曲理论为基础,以该时期的“游戏”、“寓言”、“新奇”、“才情”、“色艺”、“本色”这六大美学范畴作为研究对象,对此溯本探源还原经典,揭示概念本质内涵,阐释范畴理论精髓,发掘其当代意义与价值,描绘范畴群间地图。具体地说,除绪论和结语外,全文共分六章。绪论部分首先明确不同于西方的中国范畴研究的特色,然后主要介绍明清戏曲美学范畴研究现状并做文献综述。最后概括选题意义和本文主要内容。第一章游戏。“游戏”这个中西方共有的古老话题,与戏曲有着深厚的历史渊源,在明清戏曲理论中,游戏凭着娱乐性功能与虚拟性本体的融合,结集成为戏曲美学的独特范畴。戏曲中游戏的娱乐性表现为两个方面,即：游于戏曲,乐于戏谑；文人游戏,戏乐成趣。“虚实相半,游戏三昧”与“戏也,非戏也；非戏也,戏也”一起成为游戏虚拟性本质特征。戏曲的娱乐性与写意性正因游戏的娱乐功能与虚拟本体而得以充分显现,而在文人逞才能的明清时代,作家凭着游戏心态言志述情,驰骋于笔墨游戏之中以征得游戏三昧,为中国古典戏曲增添了一点油墨重彩。第二章寓言。“寓言”概念发展历史悠久,作为叙事体寓言所具有的教谕性和虚构性特征,将它与戏曲紧密相连。寓言之所以成为明清戏曲美学范畴之一,是因为它以“假借譬喻,风世寓言”与“因物寓言,托兴寄意”为主要特征的寓言教化性充分揭示了明清戏曲的社会功能；又以“传奇无实,大半寓言”与“寓言颠倒,谬悠亡根”为主要内核的寓言虚构性深刻诠释了明清戏曲的叙事问题。因而,寓言的教化功能和虚构本位融为一体而成为明清戏曲理论中独特的审美范畴之一第三章新奇。作为一种表征戏曲叙事方式之一的“新奇”,以“非奇不传”和“非新不传”为核心,成为明清戏曲“传奇”的重要美学特征。从“传奇”概念的历史发展和“非传不奇”的内涵来看,它们有着不可分割的共性——新奇性；从明清戏曲叙事角度看,“新奇”范畴的形成经历了由“奇”而“幻”和以“新”释“奇”的转化过程,最终在“奇”与“真”的统一中完善自己的内涵。“新奇”的审美内涵主要表现为：一是非奇不传；二是事奇与情奇,这可以从明清传奇要求以情节结构创新为旨归和曲论家的新奇观中来考察。第四章才情。“才情”的历史久远内涵复杂。原为中国古典文论范畴的“才情”总是在“性”与“情”、“情”与“理”的矛盾运动中使其内涵变得丰富而多样,尤其在明清戏曲中,尽管由俗而雅,由雅变俗,但主情论始终主导曲坛,明清文人逞才情已成为一种时尚。“才情”成为明清戏曲审美主体表征并具有丰富的美学特征。它先由偏重于“才”到主情论再到“才情”中融入教化色彩经历了这样的三个阶段,其具体体现为：一是“才”胜于“情”,以王世贞为代表,这种才情观与魏晋人物品藻的重“才”之风有关。二是“才情”滑向以情为主,任情而发,因情而文,在阳明心学和李贽“童心说”等启发影响下,形成了以汤显祖为代表的“言情”说,其主要内容是“意趣神色”,“因情成梦,因梦成戏”和“理之所必无,情之所必有”等重要观点,丰富了汤氏“言情”说的内涵。汤氏以“言情”为主的才情观影响了一大批明代曲论家,如张琦、潘之恒、冯梦龙和孟称舜等。三是从“情痴”到“情教”,“才情”中掺杂着越来越多的教化成分,从张琦的“情痴”论到冯梦龙的“情教”说再到孟称舜的“情之正”,预示着才情与教化的融合在不断升级,让明清戏曲中以“言情”为主的才情论与寓言教化论纠缠不清。曲坛上,关于戏曲到底是言情的,教化的,还是娱乐的等这些关乎戏曲美学本体与功能的问题,始终争论不休,并一直伴随到今天,影响着中国戏剧的发展导向。第五章色艺。“才情”和“色艺”虽然同为戏曲的审美主体范畴,但是与注重作家的“才情”不同,“色艺”关乎着戏曲舞台表演主体美的问题,这个表演主体就是居于戏曲中心地位的演员。因此,“色艺”实际上是针对舞台演员这个审美主体而言的。“色艺”内涵丰富,它体现了演员以姿容美色为主的内在美与外在美的有机统一；更主要的是,还表现了演员以唱念做打为特征的审美化的高度形式美的表演技艺。元代演员之色艺品评要求“色艺俱绝”,其具体标准就是胡祗遹提出的“九美说”；夏庭芝的《青楼集》则是品评元代女艺人色艺的审美实践。明代戏曲表演美学是对元代的进一步拓展,主要以汤显祖和潘之恒为代表。“神归于一”是汤显祖的演员色艺论的主要审美境界；而“才”“慧”“致”三者兼备则成了潘之恒论演员色艺美之核心内容。汤氏和潘氏的色艺论使明代表演美学朝着“艺道”和“神致”的方向拓展。到了清代,戏曲演员的色艺论又发生了变化,以“声容”与“声色”为主要内容的色艺论深化了戏曲表演美学的内涵,具体表现为：一是声容之“态”,这是以李渔为代表的演员色艺论之核心,同时,李渔把导演的理论系统化,加强了导演在演员培养中的作用。二是清代的花雅之争,强化了演员色艺品评的力度,以《消寒新咏》为主要代表作,其演员品评色艺三昧,以“合度”、“求淡”、“传神”为审美标准,这与潘之恒的表演理论遥相呼应,有异曲同工之妙。第六章本色。“本色”最初源于诗论,宋以后被大量用于文艺理论批评之中,其内涵愈趋复杂,尤其与“当行”一起引入中国戏曲理论并作为戏曲批评用语以来,总是伴随着与各色流派之间的论争,从而使其审美内涵不断丰富,日趋成熟。到了明清两代,随着戏曲理论的发展成熟,本色理论也臻于完善。在明清曲论家眼中,其“本色”各有所指,各不相同：或指语言风格,或者文俗问题,或指音律声律问题,或指舞台搬演问题,等等。总之“本色”大多是在论争中进行研究并提出相应观点的。除了关于“当行”与“本色”之间关系的论争外,明清戏曲理论中的本色问题论争主要表现在：本色与文词之争,主要是针对明初的骈绮之风盛行而言的；本色派与骈丽派之争,主要是围绕《西厢记》、《琵琶记》和《拜月亭记》的高下进行的；文词派与声律派之争,其实就是“汤沈之争”。戏曲理论的“本色”研究成果颇丰,在这些范畴中,它是最成熟的一个,但也还要进一步拓展。结语部分,一方面是概括全文的主要内容,深化六大范畴之间的内在关系与逻辑关系,并对重构明清戏曲美学完整的范畴系列乃至理论体系提出设想,进一步明确明清戏曲美学范畴研究的理论价值与当代意义。更多还原

【Abstract】 Areas of academic research in today’s hot topic of theoretical research, but also difficult problems. As a theoretical basis for the opera art aesthetic category especially. Opera aesthetic categories to refine research first era aesthetic characteristics can represent a category of their own group or family category as the object of study. This article is part of dynastic history category group case study type, that drama theory Ming and Qing Dynasties as the basis, the period of "game","language distinction","novelty","talented","seyi","artistic atmosphere" these six areas for the study of aesthetics, which restore text to tracing the Origin reveals the essence of the concept of meaning, interpretation of the scope of the essence, the map depicts the inter-group category.Specifically, besides the introduction and conclusion, the full text is divided into six chapters.The introduction part first clearly different from western China category study characteristic, and then mainly introduces the Ming and qing dynasties drama aesthetic category research status and literature review.Finally summarizes the selected topic significance and main contents in this paper.The first chapter."Game" of the Chinese and western of ancient topic, and opera has deep historical origin, in the Ming and qing dynasties drama theory, the game with entertaining function and fusion of virtual reality into the unique category of drama aesthetics.Opera entertaining game in the form of two aspects, namely swam in the opera, enjoy banter;Literati game, play music, love."By the false or true, samadhi" and "play, also not play; also not play also, play" also become essential feature of virtual game together.Opera entertaining and free entertainment functions because of the game was fully revealed, with virtual reality and in literati over to Ming and qing dynasties era, writer will and with the game mentality ShuQing, gallop on ink game, game to obtain his samadhi.The second chapter Language Distinction." Language Distinction " the concept of a long historical development, as a narrative of the language distinction has the didactic and fictional features, it will be closely linked with the drama. Ming aesthetic categories become opera language distinction, it is the theory of the Ming and Qing drama, with "under the guise of metaphor, allegory World Wind" and "because things language distinction, intended to send care Xing" as the main feature of the Language Distinction enlightenment, and fully reveal the social function of the Ming and Qing drama; used "no real legend, most of Language Distinction s" and " Language Distinction reversed absurd death leisurely root" as the main core of the allegorical interpretation of the fictional narrative problems Ming drama. Thus, the educational function and fiction language distinction based integration.The third chapter is novel."Novelty" as a characterization of drama narrative aesthetic category, it is important esthetics characteristic of the main ways-the legendary drama in the Ming and qing dynasties.By "nonsingular don’t preach" and "the new don’t preach" as the core of "novelty", is the aesthetic characteristics of "legend".From the development history of the concept of "legend" and "not pass" the connotation of the term, they are inseparable in common-novelty.From the Ming and qing dynasties drama narrative point of view, the category of "novelty" experienced by the "chi" and "illusion" and "new" release ","conversion process, in the unity of odd "and" true "in perfecting their connotation."Novel" the aesthetic connotation of the main performance is:one is strange not preach;2it is matter with affection, this can be from the legends of the Ming and qing dynasties to the plot structure innovation as the purpose and music theory to examine the new wonders.The fourth chapter talents."Intelligence" of a long history and is more complicated. Belonged to category of Chinese classical literary theories "talents" always on "sex" and "love","love" and "reason" to make its connotation in the contradiction movement of rich and varied, especially in the Ming and qing drama, from vulgar and elegant, the elegant vulgar, and low constant rotation, but the main theory of emotion is always dominant altar, literati their talents has become a kind of fashion."Talent" as the Ming and qing dynasties drama aesthetic subject characterization and has rich aesthetic characteristics.It experienced by the focus on theory of "only" to the primary affection to the "intelligence" into the enlightenment of colour such three stages, concrete manifestation is:one is "only" rather than "love", represented by wang shizhen, this kind of concept of talents and charactor of the wei and jin dynasty "only" in the wind.The second is "intelligence" and slide to give priority to with feeling, said that romance or main sentiment theory, harmonized appearances and hair, because of love, represented by tang xianzu’s "romance", said li zhi "childlike innocence" in yangming philosophy and enlightening influence, such as dominant.Shang Shi "romance" advocated by "interest and expression" as the main content, and put forward "because of love into the dream, the dream to play" and "Richard nothing, will love there will be a" such important proposition, enrich the connotation of "romance", Shang Shi is given priority to with the "romantic" view of talents affect a large number of Ming dynasty music theorists, such as zhang, Pan Zhiheng, feng menglong and Meng Chenshun, etc.Three is from the "chi" to "teach", in constant debate between sex and affection and emotion and reason, the composition of mixed with indoctrination in "talent" is becoming more and more from zhang’s theory of "chi" to "teach" feng menglong said to meng said of "love", indicates the talents and enlightenment of constantly fusion, make the drama in Ming and qing dynasties "romance" as the intelligence theory and language distinction indoctrination theory of entanglements.Altar, about drama what is romance, enlightenment, or entertainment such as a matter of drama aesthetics ontology and function, has always been debated, and always be accompanied by today, which influence the development of Chinese drama.The fifth chapter SeYi."Talent" and "SeYi" although fellow opera aesthetic subject category, but with a focus on the writer’s "talents","SeYi" is about the problem of opera stage main body beauty, the performing subject is the actor at the drama centre.There fore,"SeYi" is actually the actors on stage in terms of the aesthetic subject."SeYi" connotation is rich, it embodies the actor is given priority to with enshrouded beauty of inner beauty and outer beauty organic unity;More major, but also the actors sing read do play as the height of the characteristics of the aesthetic form of performance art.Actors of the yuan dynasty SeYi evaluate requirements "SeYi burden off, put forward by the specific standard is hu only Yu said "nine";Xia Tingzhi the brothel set is tasting the yuan dynasty female artist SeYi aesthetic practice.In the Ming dynasty opera performance aesthetics is to further expansion of the yuan dynasty, mainly represented by tang xianzu and Pan Zhiheng."Due to a god" is the main aesthetic realm of tang xianzu actor SeYi theory;And "to" and "hui" with "to", have become the core content of theory of Pan Zhiheng actor SeYi beauty.Shang Shihe by SeYi theory makes the performance of Ming dynasty aesthetics towards "YiDao" and "god" to the direction of development.Theory of opera in qing dynasty, the actor’s SeYi changed again, to "capacity" and "melody" as the main content of the SeYi deepen the connotation of aesthetic of the opera performances, embodied in:one is the "state" of acoustic capacitance that is a delegate with li yu actor SeYi theory of the core, at the same time, the director li yu’s theory systematically, to strengthen the role of the director in the actor training.The second is the qing dynasty, the flower of war, to strengthen the actor SeYi evaluation, in order to "eliminate cold new poems" as the main representative, the actors evaluate SeYi samadhi, to "help","light" and "god" as the aesthetic standards, this has to do with Pan Zhiheng performance theory from afar has the same effect.The sixth chapter Artistic atmosphere."Artistic atmosphere " originally from Poetry, Song was later used extensively for literary theory criticism among its meaning becoming more complex, especially with "When the line" along with the introduction of Chinese opera drama theory and criticism as its language, always accompanied with colors Debates between schools, which continue to enrich its aesthetic connotations, matures. To the Ming and Qing dynasties, with the development of the theory of mature drama, character theory perfected. In the eyes of the Ming and Qing song on the home, its "nature" within the meaning of their own, not the same:refers to the language or style, or text vulgar questions or refer melody sound legal issues or problems, and so refers paraded across the stage. In short,"nature" is mostly studied in the debates and propose ideas In addition to the relationship between "when the line" and the "nature" of the debate, the true nature of the Ming and Qing drama theory there Debate:Natural and Man term struggle, mainly for wind parallel prevalence of early Ming-chi’s terms; qualities faction and parallel Korea faction battle, mainly around "The West Chamber","Pipa" and "worship the Moon," the compete conducted; diction School and Rhythm faction dispute, in fact,"Tang Shen dispute." Dramatic Theory "nature" research has yielded fruitful results in these areas is one of the most mature, but also further expand.The conclusion, on the one hand is the full text summarizes the main content, deepen the relationship between the six categories, and the reconstruction of the Ming and Qing drama complete theoretical system of aesthetics propose ideas to further the theoretical value of Ming and Qing Dynasty and contemporary aesthetic category research significance.更多还原