徐渭戏曲与戏曲论研究

【作者】 郑恩玉；

【导师】 叶长海；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2010， 博士

【摘要】 徐渭是中国明代的著名文人,也是中国戏曲史上成就卓著的剧作家和理论家。他的戏曲作品与戏曲理论在中国戏曲史上都占有极其重要的地位。徐渭在历史上一直被称为奇人,其奇特的人生历程,直到现在还不断地引起人们的兴趣。不仅如此,他的戏曲作品与戏曲理论,以及作为青藤画派始祖在绘画方面的卓越成就,人们也都给予了极高的评价。本论文选取徐渭的戏曲作品与戏曲理论作为分析对象,进行系统研究。关于徐渭的研究在地理空间上考察了中国、韩国、美国、日本等国的研究成果;在内容上有生平研究、戏曲作品《四声猿》、《歌代啸》研究与戏曲理论著作《南词叙录》的研究。其它还有关于徐渭交游经历以及徐渭著作版本的研究。第一章是对有关徐渭研究的专著与论文的整理分类,回顾徐渭研究的现有成果,瞻望以后徐渭研究的方向。第二章是关于徐渭戏曲作品集《四声猿》的研究,对其中的四部作品都作了单独的深入研究。从故事渊源开始,然后在《狂鼓史》中,从曹操与祢衡的人物形象分析徐渭的思想观念,从作为戏剧背景的阴间的设置看中国人的神话认知,还对该剧中出现的剧中剧结构进行了简要的分析。在《玉禅师》中探讨了佛教的色戒和超度的观念,分析了情节剧的形式。在《雌木兰》与《女状元》中探讨了戏曲中“女扮男装”所体现的“变身”的意义,从木兰与父母的关系着手对传统的价值观进行了分析,并从春桃的身份上升过程揭示出当时对财物的经济观念的变化等。第三章是关于《歌代啸》的研究。该章分析了《歌代啸》中僧侣关于色戒和财物的观念变化,以及这种变化中所体现出来的关于佛教的世俗化倾向,集中研究了剧作的讽刺意味、人物形象和剧情结构。第四章是对徐渭戏曲论著《南词叙录》的研究。从《南词叙录》中戏曲论的分析,着重研究他的戏曲理论的核心——本色论,又对本色论中的作家论与语言论进行了重点探讨。第五章考察了徐渭戏曲对后世的影响,主要从两个方面进行了考察:徐渭《四声猿》的戏曲作品组合式结构的戏曲集的流行对后世戏曲创作的影响,在徐渭《四声猿》以后我们很容易看到类似于《四声猿》式戏曲集的出现;另一方面就是对根据《四声猿》的基本故事情节来改编的作品的研究,只是此方面的作品以前的皆已不存,只有现存的三种。根据徐渭剧作改编的现代作品有:由《狂鼓史》改编的昆曲《骂曹》、由《玉禅师》改编的话剧《禅师与营妓》,以及由《歌代啸》改编的荒诞剧《人这个东西》,本章对这三个作品与徐渭原作的差异都作了简要的比较分析。更多还原

【Abstract】 Xu Wei(1521-1593), one of the best writers in the history of China, was a playwriter in the Ming dynasty. His works and critical essays on plays exerted influential power during the middle and late Ming dynasty, when the classical plays flourished for the second time in the history of Chinese literature. Moreover, the extraordinary episodes of his eccentric life have been passed among the people until now. Known as the founder of the Qingteng style, he also devoted himself to the painting as well as his plays and critiques, which has been highly appreciated until these days.The purpose of the thesis is to criticize his plays and critiques, reviewing and classifying the papers and studies on his works with the future prospects in the field in chapter 1. His works have been studied among the scholars in China, Korea, the U.S., and Japan, the results being found in the studies on life, on the‘FOUR CRIES OF A GIBBON’for plays, on the‘GEDAIXIAO’, and on the‘NAN-TZ’U HSU-LU’, a theoretical writing for plays. In addition, his acquaintances and the later editions are studied; he associated with Tang Xianzu and Wang Jide, the two famous playwriters of the time and the people from Tansong or Yuezhong group as well. The study on the later editions of his works is promising since it has not been brisk.In chapter 2, the study on each of the four works in the FOUR CRIES OF A GIBBON is elaborated. The study begins with the investigation of the roots of each work. Arguably, Xu Wei’s ideology is shown in the characters of Ts’ao Ts’ao and Mi heng in‘Kuanggushi’and the Chinese people’s perception as well as the drama-in-drama technique is noticed in the play. In‘Yuchanshi’, the Buddhists’thoughts of karma or constant mutation and carnal desire are found in the story, which can be classified as a sort of melodrama. In‘Cimulan’and‘Nüuzhuangyuan’, the meaning of the disguise of the two main characters, Mulan and Chuntao can be observed. The past-oriented values between Mulan and her parents, Chuntao’s desire for social upgrading, and the change in the economic concepts of the era can also be noticed.‘GEDAIXIAO’, which is sometimes claimed to be a forgery, is reviewed in chapter 3. The secularization of the Buddhism reflected in carnal desire and wealth can be found in the play, the focus being mainly on the satire, the character description and the plot.The chapter 4 is devoted to the study of‘NAN-TZ’U HSU-LU’, which is his own theoretical writings on plays. The Bense theory, his core argument, with his own view on language, is analyzed with the example writers.In chapter 5, the influence of Xu Wei for the following generation is surveyed. The followers can be grouped in two; one, those imitations of the collection of plays like the‘FOUR CRIES OF A GIBBON’with the result of the popular collective editions of the time, the other, those adaptations of the basic plots from the‘FOUR CRIES OF A GIBBON’. None of the adaptations have been passed on except the three modern works: a Kunju,“Blaming Ts’ao Ts’ao”which is an adaptation of‘Kuanggushi’,“A Bonze and a Chinese Geisha”which is a modern adaptation of‘Yuchanshi’, and“A Man, A Thing”which is adapted for an absurd comedy of‘Gedaixiao’. The above three works are briefly analyzed and compared with the original works before the paper is concluded.更多还原