【作者】 王薇；

【导师】 骆兵；

【作者基本信息】 江西财经大学 ， 中国古代文学， 2012， 硕士

【摘要】 丁耀亢(1599—1669)是明末清初的戏曲作家,一生创作了4部传奇,即《化人游》、《西湖扇》、《赤松游》和《表忠记》,为明清戏曲的发展与繁荣做出了积极的贡献。丁耀亢在戏曲作品的凡例和评点等中鲜明地表达了对戏曲创作和戏曲理论的见解,尤其是关于戏曲虚实艺术的观点,能够继承前人有关文学虚实理论的精华,紧密结合当时社会生活和戏曲艺术创作实际,不乏独到深刻之处。丁耀亢的戏曲作品是其时社会生活动荡、其人经历仕途坎坷的反映,透漏着出世与入世的矛盾。丁耀亢戏曲“虚实论”最大的艺术特点就是虚实相生并以虚为主。丁耀亢的戏曲理论还未成系统,但是,丁耀亢确实也做出了一定的论述,而且有些观点是时人中所没有提到过的,不乏真知灼见,具有很重要的艺术价值。丁耀亢在《啸台偶著词例》里提出了“三难”、“十忌”、“七要”和“六反”的观点。丁耀亢认为“戏者,戏也”,戏曲创作要以“情”为主。将丁耀亢的戏曲虚实理论与李渔的戏曲虚实理论作比较,不难看出,丁耀亢更侧重于戏曲创作技法,应用性、实践性强；而李渔的《审虚实》更侧重于戏曲艺术原理,思辨性、理论性强,二者各有所长,实可相辅相成。可见,丁耀亢的戏曲虚实理论在中国古代戏曲理论史上不乏重要的意义。丁耀亢的戏曲虚实观不仅体现在他的戏曲理论中,更多的是体现在他创作的戏曲作品上。丁耀亢的戏曲虚实艺术大致可以概括为三个方面：生活真实和艺术虚构相结合,烘云托月、不写之写,借“虚事”抒“真情”。戏曲理论的“虚实”问题的深入探讨和日臻完善,是历代戏曲作家和戏曲理论家不断努力探索的结果,丁耀亢在戏曲虚实艺术理论方面的建树为中国古代戏曲理论的大厦建构做出了积极的贡献,因此说,丁耀亢在中国古代戏曲史上的地位是不能忽略的。更多还原

【Abstract】 Ding Yaokang (1599——1669) is a opera writer in the late Ming and early Qing Dynasty. He wrote four traditional operas in his life, they are "Hua Ren You","Xi Hu Shan","Chi Song You" and "Biao Zhong Ji". He has made a positive contribution to the development and prosperity of Ming and Qing Dynasty’s traditional opera. Ding Yaokang vividly express his insights of the drama’s creation and the drama theory in his works, especially the views about the art of fiction and reality in the drama. He inherited Senior’s essence of virtual and reality theory about the literature. He closely combined with the actual of civil life and Opera Creation at his era, there are many originality and profundity ideas. Ding’works are the reflection of the turbulent social life and his rough life experience, revealed the contradiction of go into the society or not. In his virtual and reality theory the greatest artistic characteristics is each other reciprocal transformation and then the most important is fiction. Although Ding’s drama theory also had not become a system, he has also made certain elaboration, and some view is the same time others not mentioned, there is no lack of high perspicacity, they has the very important artistic value.In "Xiao Tai Ou Zhu Ci Li",Ding Yaokang put forward to the viewpoints of "San Nan","Shi Ji","Qi Yao" and "Liu Fan". Ding Yaokang think that "Xi Zhe, Xi Ye", and also consider the creation of opera need With the emotion as the first. it is not difficult to see that, Ding Yaokang focuses more on the opera creation techniques, application, practicality; whereas Li Yu’s" fictional and real" theory focus more on articaltheory, philosophical, theoretical theory. Each one has his advantages, and can complement each other. Obviously, Ding Yaokang’s opera and theory is of great significance in Chinese ancient drama theory history. Ding Yaokang’s opera and view is reflected not only in his drama theory, but also in his opera works. Ding Yaokang’s drama and art can be roughly classified into three categories:combination between real and fiction, set off the moon with clouds, emotion expressed with figment The discussing and improving of the problem about the art of fiction and reality in the drama theory is the result of the past dynasties’ writer’s continually strive to explore, in this respect his achievements has made positive contribution for the building of the china ancient drama theory, therefore, Ding Yaokang’s status can’t be ignored in the ancient Chinese drama history.更多还原