【作者】 敬晓庆；

【导师】 李占鹏；

【作者基本信息】 西北师范大学 ， 中国古代文学， 2004， 硕士

【摘要】 戏曲“本色”说在我国古典文学批评中是一个相当复杂的范畴，具有丰富的理论内涵和鲜明的民族特色。“本色”源自诗文理论而盛行于戏曲批评，在明代、尤其是明代中后期成为曲论家普遍探讨和关注的一个理论问题。对戏曲本色的追求，是我国古代传统的审美理想在戏曲领域的集中体现。其理论涵盖面相当广泛，涉及戏曲内容和形式的诸多领域。明代戏曲“本色”说的核心内容即在于中国古典戏曲“辨体”观念的整合重组。 明代戏曲“本色”说的纵向演进，经历了一个由诸多曲论家参与讨论、发展完善的过程：其发轫于明初朱权《太和正音谱》对戏曲内在体制规范的探求研讨；中经明中叶李开先“以金、元为准”之本色说、何良俊“宁声叶而辞不工”之本色说、徐渭“本色犹言正身”之本色说、王世贞“虽本才情、务谐俚俗”之本色说的阐发与深化；至晚明沈璟“按腔自然成绝唱”与汤显祖“意趣神色”之发挥后，由王骥德集其大成，构建出“可解”、“可演”、“可传”的完整戏曲“本色”说体系。 明代戏曲“本色”说的横向拓展，经历了诸多层次不一、大小有别的论争辩驳，其要者有关于戏曲语言文质关系的“名剧之争”，与关于戏曲形制的“意法之争”。明代戏曲“本色”说的两次论争，均体现出明代戏曲理论趋于综合的理论倾向。在两次论争之后，明代戏曲“本色”说基本成为一个具有多重审美内涵的稳定而客观的美学范畴，其语言上文俗相济、形制上意法双美，兼具舞台与案头之双重审美属性。 明代戏曲“本色”说的基本精神在于对戏曲文学本性的确认上勾连“名教”与“人情”，采用“风化论”与“情本论”的二元叙述方式；并表现出模糊性、论争性和综合性等显著特征。高度系统化的明代戏曲“本色”说几乎涵盖了古典戏曲理论中所有富含哲学意味和美学意义的命题，并对清代戏曲创作与戏曲理论批评产生了极为深远的影响。更多还原

【Abstract】 In the history of classical Chinese literary criticism, Theory of innate character of opera is a crucial and complicated category because of its substantial theoretical content and distinct national style. It originated from the theory of poetry and literature, and prevailed in opera criticism. During the Ming dynasty(1368-1644), especially the middle and late period(1436-1644), it came into being a theoretical issue to which opera theorists commonly paid close attention. In summary, it involves multiple fields of opera substance and form, and owns wide theoretical content, therefore, generally speaking, seeking opera innate character is a gradual course that aesthetic idea of ancient tradition infiltrates into the realm of opera. What’s more, its kernel justly lies in reconstruction about conception of distinguish types of classical Chinese opera.From vertically scanning, opera theory of innate character during the Ming dynasty experienced a discussed, developed and perfected proceed. Firstly, it began with Zhu quan’s <Tai He Zheng Yin Pu>, which mainly discusses inner principles of opera innate character in the early of the Ming dynasty(1368-1435); secondly, it was instantly elucidated and deepened by the different theory of innate character of Li Kaixian, He Liangjun, Xu Wei, Wang Shizhen in the middle of the Ming dynasty(1436-1572); Finally, in the late of the Ming dynasty( 1573-1644) it was elaborated by Shen Jing and Tang Xianzu, and Wang Jide constructed it as an integrated system which could be understood, performed and prevailed.Horizontally, theory of innate character went through numerous controversies, briefly there were "famous opera controversy" on relation between opera linguistic resplendence and plainness, and "Yi and Fa controversy" on relation between content and form of opera. For opera theory of the Ming dynasty, these appeared a theoretical inclination to gradually synthesize. After that, theory of innate character basically became a stable, objective aesthetic category.The basic spirit of opera innate character of the Ming dynasty should be obvious, on the one hand, it links up "confusianism "and "sentiment" while confirming opera nature; on the other hand, it adopts "theory of decency" and "theory of feeling self-department" as its dualistic narrative method. Apart from these, indistinct, arguable, synthetic properties are also some focus that the thesis expounds. Moreover, the theory that was extremely systemized also concludes all the subjects with meaning of philosophy and aesthetics in the domain of classical opera theory, and deeply influential in producing and criticizing of the Qing dynasty.更多还原