元杂剧文化研究

【作者】 徐雪辉；

【导师】 徐振贵；

【作者基本信息】 曲阜师范大学 ， 中国古代文学， 2009， 博士

【摘要】 二十世纪初期王国维的《宋元戏曲考》开启了元杂剧的研究,经过一个世纪几代学人的努力,对元杂剧的研究无论是在剧目整理、作家考辨、元杂剧史等基础研究方面,还是在社会学、民俗学、语源学、文化学、艺术发生学等深层研究方面都取得了丰硕的成果,本人在对诸大家的仰慕学习中,对元杂剧进行重新梳理、分析与研究。全文共分五个部分。第一部分。关于元杂剧为什么发生并兴盛于元代的问题,论文通过比较研究,分三个时期阐述了元杂剧的形成与其特殊的历史文化背景。首先,认为在上古时期的中国文化中,已经有了戏剧因素,后历经先秦两汉魏晋南北朝隋唐等朝代变更,而始终没有没有发育成“真正之戏曲”,是与其文化影响紧密相关的,这一时期的文化特征简单概括一下,可称为百家争鸣与礼乐禁锢相交互作用。因此,一方面早期的戏剧因素受到礼乐观念的严重制约,不能顺利地成长为“真正之戏曲”;另一方面,不断的交替出现的争鸣与思想解放,又培育了大量的如歌舞、戏弄、杂艺、讲唱等诸多戏曲要素。其次,元代蒙古南下进入中原,随着多民族的杂居与融合,其文化思想也必定在碰撞、交流、融合中发生变异,而逐渐产生新的文化思想、新的思维体系,元代整个社会的思想文化处于一种游牧文明与农业文明、北方文化与南方文化、雅文化与俗文化等多重交融的状态,戏剧有了新的生存的土壤,戏剧演出也由民间底层的行为活动一跃成为社会全体成员共同接受、喜爱的艺术品种,杂剧成为一种流行艺术,文人直接参与杂剧创作,进一部把这种新型艺术创作水平提高,推向一个新的阶段,使元代成为中国历史上戏剧发展的第一个黄金时期。第三,随着蒙古政权的巩固,其汉化的程度越来越高,儒家文统重新受到关注,元统治者在政治思想上,尊崇儒学,大力提倡程朱理学,封建伦理的再度盛行,导致了元杂剧审美内容与审美形式的蜕变,杂剧因此失去了它特有的风味与活力,逐渐走向衰微。第二部分。本论文通过对元杂剧剧目的再整理分析,结合元代社会状况及元人特有的思想意识,发现现存元杂剧(包括可推断剧情大致内容的存目戏)所蕴含的思想,可用“关系”二字来概括,即作者和艺人面对“礼崩乐坏”的现实,要给迷茫和愚昧的人们一种生存智慧,那就是如何生存的更好,对此,他们阐发的是生活中的各种关系:第一,作为社会关系中的人,会以各种社会角色出现,而在这个角色下如何更好地处理平衡各种关系,是剧作者和艺人们关注的一个大问题,如君臣关系;官民关系;家庭关系;其他的人际之间的关系等,而杂剧中反映出来的这些关系特征,有深深地打上了元代文化的烙印。第二,积极入世之外,还有一部分人更注重自我内心的宁静,反应在杂剧中,就是那些佛教中人;道教中人以及避世的儒生,而这些人的鄙视思想也无不显示元代文化的特征。第三,一些进不能,出不得的人们来说,任情而行,快意人生,也未尝不是一种好的生存状态。第三部分。元杂剧的艺术形式,其体式的形成,是前代多种艺术形式发展成熟并交会融合的结果。首先,中国戏曲不同于古希腊戏剧和印度梵剧,后两者的形式特点是重叙事、情节、冲突,而中国戏曲重“曲”,此曲即是一种新的可供演唱的诗,元人把传统诗歌,特别是宋词,与当时的流行音乐,特别是北方少数民族的音乐结合,诞生了北曲。其次,上古的歌舞、巫觋、俳优,汉之百戏,唐戏弄,宋杂剧等凝成了元杂剧的“杂”的形式特征。第三,中国戏曲以唱词和说白互相配合演述故事,这一特点,源于说唱文学。第四,元杂剧融乐曲、百戏、滑稽戏、舞蹈、讲唱等为一体,形成“唱、做、念、打”的演出形式。文学对于众多“杂”的技艺的整合,诞生了元杂剧的形式特征。其体式的特征,又显示元人特有的审美眼光和审美趣味,元杂剧的艺术形式的形成就是在元代文化的影响和制约下形成的。就观众而言,市民观众群体是其主要成员,受元代偏好简率、自然、实用的时代审美背景影响,他们观看戏曲追求:简单热闹的声色之娱;雅俗共赏的群体娱乐;蕴含智慧的完整故事。元杂剧为满足观众的感官娱乐与精神心理需求,每一剧以一本四折的形式,叙演着一个完整的故事,使观众在感官娱乐的同时,得到心理的满足。第四部分。元杂剧作为综合艺术,其研究不能仅局限于文本,对于舞台方面,包括剧本、演员、剧场、演出等,又都深深地烙印着宋元以来商业文化的印记。首先,元杂剧剧本的创作,呈现下列特征:有大批有着很高的文学修养的“书会”才人投身其中;许多剧本是集体创作的结果;在编演过程中,艺人与文人的结合完成,很好地实现了文学与舞台的沟通。其次,有大批卓有成就的专业演员,也有一批非专业人员参与,他们共同推动戏剧的传播与普及。第三,剧场的特征与戏剧的社会地位关系密切,元代剧场的演变由露台、舞亭、舞楼不断完善,说明戏曲社会地位的提高。第四,元杂剧的演出以虚拟表演与连场戏为主,正是家庭戏班与民间艺术化局限为自由,变简陋为神奇的智慧结晶。第五部分。元代文人对于元杂剧这一新生事物的批评,既是历史的又是现时的。他们一方面从血缘关系上来提升其价值,以传统的史论与诗论的眼光对元杂剧作家、功能进行审视。在史论方面,评论者们论述了从诗到杂剧的文体演变过程;在功能论方面,评论者们直承诗教的认识教化功能,指出杂剧题材内容广泛,可以厚人伦美风化,有补于世;在创作论方面,注重曲词的创作,有意向雅文学靠拢,有些人甚至套用诗文概念评点戏曲,在解释杂剧的文学性方面发表了富有见地的意见。批评者们借助诗文批评标准,建立戏剧理论批评,为杂剧向正统的雅文学靠拢而助威呐喊。另一方面又能立足现时对其演出效果做出恰当的判断。在表演论方面,论述较多是唱功,也明确突出曲词的地位;在作家论方面,对杂剧作家无论其地位高低,均以文章之士来看待,对他们才学与创作给予充分的肯定。结论:元杂剧是元代特定文化陶冶下的内在精神产物:元代文化造就了元杂剧的内容、形式、演出和批评,元代文化尤其是思想文化是元杂剧繁盛的依托;元杂剧的兴盛又反作用于元代文化,影响着元文化的发展方向。这提示我们,一种文艺形式的繁荣,必定有其与之相适宜的文化背景,也只有认清其文化要求,在不同时期能作出适应性的调整,才是最好的出路。更多还原

【Abstract】 At the early 20^th century,Wang Guowei’s A Historical Study of the Drama in the Song and Yuan Dynasties started the research into Yuan drama.Through the efforts of several generations in the 20^th century,plentiful and substantial achievements have been gained whether in the basic researches into the arrangements of the list of dramas,the textual criticism of the dramatists,the history of Yuan dramas and so on or in the in-depth researches into sociology,folklore,etymology,culturology,art science and so on.The author,based on the study of the above achievements,after recarding,analyzing and studying Yuan drama and comparing it with the contents and forms concerning the elements of dramas before and after it,combining with cultural features of that time,has formed her own viewpoints gradually and embodied them into this dissertation.This dissertation is divided into five chapters.The first chapter.As to the issue why Yuan drama appeared and boomed in Yuan dynasty, the dissertation elaborated the formation and the particular historical and cultural background of Yuan drama through three stages after comparative studies.First,the author thinks that the Chinese culture in the ancient times had already had the elements of drama,but they didn’t develop into drama in the true meaning after undergoing the changes of dynasties such as the Pre-Qin Period,the two Han Period,Wei,Jin,Southern and Northern Dynasties,Sui,Tang, and so on,which was closely related to the influence of its culture.The cultural features of this period can be briefly summarized as the interactions of the contention of a hundred schools of thought and the confinement of courtesy and music.Therefore,on one hand,the elements of drama in the early times couldn’t develop into true drama due to the severe restraint of the concept of courtesy and music,on the other hand,the contention and ideological emancipation took place by turn continually,which cultivated plenty of key elements of drama such as song and dance,xinong,miscellaneous arts,recital,and so on. Second,Mongolians of Yuan went south into the Central Plains,so with the multi-national inhabitation and fusion,their cultural ideology must deviate during the crash,communication and fusion so as to produce new cultural ideology and new ideological system gradually.The ideology and culture of the whole society of Yuan dynasty were in a state of multiple blending between nomadism civilization and agriculture civilization,northern culture and southern culture,refined culture and popular culture,therefore,drama had new surviving soil,drama performance leaped from the unprivileged activities to the art that all the communitarians accepted and loved.Yuan drama had become a kind of popular art and the scholars took part in the composition of the drama directly,which elevated the composing level of this new art and pushed it to a new stage,then made Yuan dynasty the first golden period of drama development in the history of China.Third,with the consolidation of Mongolian regime,it became more and more Chinesized,Confucian culture was focused on again,the governors of Yuan dynasty advocated vigorously Cheng-Zhu Neo-Confucianism,feudal ethics prospered again,which led to the decay of aesthetic content and form of Yuan drama,as a result,the drama lost its particular flavor and vigor and stepped into decline.The second chapter.Through the rearrangement and analysis of Yuan drama and combining with the social situation of Yuan dynasty and the peculiar ideology of Yuan people, the author finds that the thoughts included in Yuan drama on hand（including those survived drama directories which plots can be inferred roughly） can be summarized as relationships, that is to say,the dramatists and the actors,facing the reality of the decaying courtesy and music,would bring to the perplexed and ignorant people the living wisdom-how to live better. In order to achieve this,they expounded all kinds of relations in people’s life:first,as humans in the society,they would bear different social roles,so how to deal with and balance these relations under such different social roles was the big problem the dramatists and actors focused on.All the relations such as monarch and official,official and masses,familial relationship and so on were embodied in Yuan drama and branded with the culture of Yuan dynasty.Second,besides those who positively chose the official career,the other who put more emphasis on the internal calmness were Buddhists,Taoists and Confucian scholars who lived as recluse rendering in Yuan drama,whose thoughts also reflected the features of the culture of Yuan dynasty.Third,for those who didn’t choose the official career and didn’t want to live as recluse,living freely and comfortably was also a good existing condition.The third chapter.The artistic forms and somatotype formation of Yuan drama were the results of mature development and intersection fusion of diverse artistic forms of the previous generations.First,Chinese drama is different from ancient Greek play and Indian Sanskrit Drama,the latter featured in putting emphasis on narration,plots and conflict,while Chinese drama put emphasis on song,which was a new kind of poems for people to sing.Yuan people combined traditional poetry,especially Song Ci,with the popular music of that time, especially the music of the North minority;therefore,the Northern operas of Jin and Yuan dynasties came into being.Second,song and dance of the ancient times,sorcerers and sorceresses,comedians,spectacle and circus of Han dynasty,xinong of Tang dynasty,drama of Song dynasty and so on formed the feature of multiplicity of Yuan drama.Third,Chinese drama performed and narrated stories through the combination of librettos and declamation. This feature derived from ballad literature.Fourth,Yuan drama combined music with spectacle and circus,funning drama,dance,talking and singing,then formed the performing form of singing,acting,speaking and fighting.Literature integrated all these techniques and formed the features of Yuan drama.Its somatotype features embodied the unique aesthetic sight and taste of Yuan people.The formation of the forms of Yuan drama had formed under the influence and restrictions of the culture of Yuan dynasty.The audience was mainly the citizens.Influenced by the contemporary aesthetic background of the preference of being simple,natural and practical,they pursued simplicity and liveliness,appealing to all,the complete story full of wits.In order to satisfy the audience’s sensory pleasure and spiritual demand,Yuan drama narrated and performed the complete story with its unique form.The fourth chapter.As a comprehensive art,the research into Yuan drama cannot be confined by text.As far as the stage is concerned,including play scripts,actors,theatres, performance and so on,it had been deeply branded with the commercial culture since Song and Yuan dynasties.First,the script of Yuan drama had the following features:many literati talents of guild of authors participating in it,collective writing,combination of actors and scholars successfully communicating literature and stage.Second,there were lots of professional and amateur actors together improved the communication and popularization of the drama.Third,the features of the theatres were closely related to the social status of the drama.The continual perfection of the theatres of Yuan dynasty showed the elevation of the social status of the drama.Fourth,the performance of Yuan drama was mainly embodied as pseudo-performance and drama series.The fifth chapter.The criticism of the newborn thing-Yuan drama by Yuan scholar was historical as well as nonse.On one hand,they improved its value from kinship and surveyed the dramatists and the functions of Yuan drama with the view of traditional historical essays and poetics.In the aspect of historical essays,the critics discussed the style evolving process from poems to dramas.In the aspect of function theory,the critics inherited the cognition and cultivation functions of poetry teaching,pointed out that Yuan drama could do good to the society.In the aspect of writing theory,they attached importance to the creation of music and stage lines and intended to approach the refined literature,Some of them even applied mechanically the concept of poetry to criticize drama,and published their views within sight, which promoted the establishment of the critical theories of drama.On the other hand,they could judge properly the performance effects of Yuan drama based on the present conditions. In the aspect of performing theory,there were more remarks on singing,the status of stage lines was given prominence too.In the aspect of the author theory,the critics treated the dramatists as scholars no matter whether their social status was high or low and fully affirmed their talent and creation.Conclusion.Yuan drama was the internal spiritual product moulded by the particular culture of Yuan dynasty.The culture of Yuan dynasty created the contents,forms, performance and criticism of Yuan drama.The culture,especially the ideological culture,was the backing of the prosperity of Yuan drama,which in turn reacted on the culture of Yuan dynasty and influenced the developing trend of it,which points out to us that the prosperity of a culture must have the equivalent cultural background.Only by knowing clearly its cultural demand and adjusting properly in different periods can we find the best way out.更多还原