明清女剧作家研究

【作者】 邓丹；

【导师】 张燕瑾；

【作者基本信息】 首都师范大学 ， 中国古代文学， 2008， 博士

【摘要】 我国明清两代至少有二十九位女作家从事过戏曲创作,创作的戏曲作品在七十种以上(今存全本三十二种,另有残本四种)。明清妇女的戏曲创作是明清才女文化的重要一翼,同时,也是明清繁盛的戏曲文化中不容忽视的组成部分。本文第一章从明清时期才女文化和戏曲文化的主要特征和发展历程入手,对明清女剧作家生活和创作的文化空间做总体观照。现知的明清女剧作家大都在当时兴盛的才女文化中扮演着重要角色,亲身参与了才女文化的创造,而个人多方面的知识储备、家庭氛围的影响以及地域文化的熏陶为她们从事戏曲创作提供了良好的条件。第二、三章对现知全部明清妇女剧作进行分主题系统研究。“私情”书写、“情”之重写、性别思索和社会关怀是妇女剧作四项重要的主题。女剧作家“私情剧”具有自传性和情感之私密性两大突出特征,本文将之与清初文人自传式“写心剧”进行比较,以发掘“私情剧”所蕴含的女作家特殊的书写心态。不同时期、不同身份的女剧作家,在涉笔爱情改编剧时透露出作者不同的婚恋观,表达了不同的婚恋理想,本文对造成这种差异的时代和个人原因亦进行了探析。明清妇女剧作的性别议题从两个方面展开:一为表达对女性才华的礼赞,一为表达对性别角色的牢骚,本文通过多角度比较研究,分析了女剧作家性别思索剧所传达的女性意识及所蕴含的戏曲史和妇女心态史意义。女剧作家同时亦拓展了传统妇女文学的内容题材,以戏曲表达她们对社会政治、时事的关怀,本文对清初和清末两个不同时间段女剧作家的社会关怀剧分别进行讨论,并揭示出其关注重心的演进轨迹。第四、五章分别为两位重要的女剧作家吴兰征、刘清韵的个体研究。“红楼戏”女作家吴兰征在《红楼梦》接受史上占有一席之地,本文结合新发现的吴兰征的生平资料评析她对《红楼梦》的评论和戏曲改编。认为吴兰征的《绛蘅秋》与其他早期“红楼戏”相比,更为接近原著的思想内涵,同时融入了作者自身的情感经历,呈现出注目闺阁的改编特色。刘清韵是中国戏曲史上最多产的女作家,她现存的十二部剧作融入了作者对社会、道德、性别、家庭等许多方面问题的感受和思索,本文从传统观念和时代精神两方面论析刘清韵戏曲的思想内容,并从文本与音乐体制、情节结构和语言风格等方面考察其艺术实践之得失。结语部分总结明清妇女戏曲创作的特点及意义,认为她们的戏曲创作有着迥异于男作家的视角和表现方式,在戏曲史上具有不可替代的价值。附录部分对明清女剧作家生平及创作情况做了全面、细致的整理和考订工作。对前人研究中的讹误和疏漏之处分别进行了考辨、补充,同时吸收最新的研究成果,辑录女剧作家作品的著录情况及其同时代或后人对其作品的评价,以还原其历史真实。更多还原

【Abstract】 There were less than twenty-nine female playwrights in the Ming and Qing Dynasties, who had created more than seventy plays and about half of them had been handed down. The plays created by women were important and noticeable component part of Chinese talented-women culture and traditional-drama culture. So, the first chapter of this thesis aims to introduce the historical and cultural background, in which benefit the development of women play creation in the Ming and Qing Dynasties. The accumulation of their own rich knowledge and the influences from their familiar atmosphere and local culture, provided for women to write plays.Chapter 2 and 3 research all female-created plays in the Ming and Qing Dynasties handed down by their different subject. Plays written by women were aimed to describe the authors’personal emotion, adapt some love stories of famous people, and to meditate on the problems about gender and society. This thesis compares the plays which described female playwrights’thoughts with several plays written by male playwrights live in the beginning of Qing Dynasty.The forth chapter talks about Wu Lanzheng, an excellent playwright in Qing Dynasty, and her Hong Lou Meng drama. Wu Lanzheng have dedicated all her emotion into creating her Hong Lou Meng drama and have given a lot of care on the female roles in it. As the most productive writer among female playwrights, the number of Liu Qingyun’s extant plays is 12.She put her feelings and thoughts of society, morality, gender and family in twelve plays. The fifth chapter of this dissertation not only discusses her plays’content from traditional notion and time spirit, but also takes her art practice into account in their systems of text and music, and their scenarios and language.Their lives and creation of these female playwrights are roundly settled, detailedly examined and corrected in the appendices of the dissertation. The appendices revise some mistakes in other’s research, and compile a lot of evaluative information about the female playwrights. This part presents the truth of history about them.更多还原