清代京剧文学史

【作者】 颜全毅；

【导师】 谢柏梁；

【作者基本信息】 南京师范大学 ， 中国古代文学， 2005， 博士

【摘要】 《清代京剧文学史》是以清代京剧的剧目和剧本创作情况、特色作为研究对象,试图较为系统地勾勒、探讨清代京剧文学的历史发展及其审美价值。 在中国文学史和中国戏曲史的研究领域中,长期以来忽略了京剧文学的存在,这与京剧作为国剧的地位很不相称。即使是专门形态的中国京剧史著的撰写,也往往重在对于演员与演出的关注,对一剧之本的京剧文学忽略不计。这种忽略有个常识性的误区,人们通常认为京剧的文学品位不高,与元杂剧和明清传奇等经典戏曲文学相比,在审美形态上有着很大差异。实际上文学性并不能等同于文辞的典雅性,而作为集表演文学之大成的京剧剧目,其文学性更在于本色当行,能够给表演提供规定情境和体现空间。因此,京剧的文学形态和内在蕴涵,有着其独特的价值和魅力,更需要学术界的充分关注和深入研究。 《清代京剧文学史》,主要包括如下几方面的内容。 第一,对清代京剧文学按照其发展的大致脉络分为三个大的时期,即起源整合期(乾嘉时期)、成型发展期(道咸时期)和兴盛繁荣期(同光宣统时期),每一时期整理归纳了一批代表性的流行剧目和文人创作,并对重要的剧本进行了考证评析。尤其是对早期的文人京剧创作如周道昌《错中错》,余治《庶几堂今乐》的研究,有着一定的系统性。 第二,对清代不同时期的审美趣味和批评风气进行归纳、梳理,总结出其特色,并予以相应的论证。例如对道咸时期“品花”情调的探讨,对于光绪时期“改良主义”理论建树的归纳,都做出了较为细致的梳理。 第三,对清代京剧文学发展过程中的一些重要现象,例如“清代宫廷演剧对京剧文学的影响”、“海派京剧的文学特性”以及“京剧改良文学”等内容,进行专题性的深入剖析。这就使得《清代京剧文学史》既包括了按照一定历史发展逻辑下京剧文学的具体内容,又有相关专题的深入分析,是纵向线索与横向专题勾连并重的双重结构。 本论文的特色和创新之处在于: 首先,第一次把京剧文学作为一个完整独立的科研对象,进行系统而深入的探讨研究,并将清代京剧文学放在中国戏曲文学大变革的背景下予以观照,这对戏曲文学史的深入开掘起到一定积极意义和有益补充。 其次,本论文对京剧文学的宫廷特色和市井色彩给予了充分肯定,认为这是近代文学审美转型的历史成果,也符合当前文学史不断拓宽学术视野和形态范畴的需求,还是相对于元明清杂剧传奇而言的京剧文学自身特点的树立。 第三,本论文从清代史料和演出资料中爬剔梳理,寻找并论证了一些极具价值的早期京剧剧本和评论文章,比如对早期文人创作京剧剧本《错中错》的研究,具备一定的开拓意义。这对中国京剧、中国戏曲史乃至中国文学史的深化发展,都提供了新的资料和线索。更多还原

【Abstract】 The Literary History of Peking Opera in Qing Dynasty studies a list of scenarios, their conditional affairs of writing, artistic characters as well. It tries to distinctly give a brief account of the literature of Peking Opera in Qing Dynasty, describes its history of development and aesthetic values.Over a long period of time, the literature of Peking Opera is totally neglected in the research of Chinese literary history and traditional opera history. This phenomenon is not tally with the position that Peking Opera has for its name of the "country opera". Some history works of Peking Opera only pay their attention to opera acting and actors, and seldom emphasize the literature of Peking Opera which is the basis of acting. There is a long-time misunderstanding that the scripts of Peking Opera have less literary meanings compared with the literary works in Yuan and Ming Dynasties. However, literary meanings cannot be equal to dictions. The literary quality of traditional acting operas embody in their whole effects when being performed onto the stage. So the literature of Peking Opera which implied literary meanings has its special enchantment, and calls for more attention and deeper research in academic circles.The Literary History of Peking Opera in Qing Dynasty mainly has several parts as below:Firstly, this paper divides the literary history of Peking Opera into three main parts according to the development, that is, original period (from emperor Qianlong to Diaqing), developing period (from emperor Daoguang to Xianfeng), and the booming period (from emperor Tongzhi to Xuantong). It arranges and concludes a group of representatively fashionable scenarios and scripts written by man of letters. It also makes textual criticism and analysis on these scripts, especially does a lot textualresearch on------Full of Errors (written by Zhou Daochang), Happiness in Shujutang(written by Yu Zhi), etc.------some early scripts of Peking Opera written by man ofletters, which has certain systematicness.Secondly, this paper combs and concludes the varied aesthetic interests and critical atmosphere in different periods. It summarizes their characteristics and gives corresponding grounds of argument. For instance, it probes to the "Pin Hua" sentiment in emperor Daoguang and Xianfeng period; it also gives a minute conclusion to the theories of "reformism" in the period of emperor Guangxu.Thirdly, this paper gives deep analysis to some important phenomena in the developing process of literary history of Peking Opera. For example, the influences to the literature of Peking Opera by acting in royal court, the literary characteristics of Peking Opera in Shanghai, reformed literature of Peking Opera and so on. All these make The Literary History of Peking Opera in Qing Dynasty on one hand contain specific contents of Peking Opera literature according to certain logically historical development; on the other hand, have deep analysis to some relevantly special subjects. So this research has a related dual structure from both vertical and horizontal.In addition, this paper has its special characteristics and creative elements whichlie in the following points:Firstly, it studies the literary history of Peking Opera as a whole independent research target and gives deeply systematical research by putting the literary history of Peking Opera in the reforming background of the whole traditional opera literature. This work has something meaningful and complementary to the deeper research of traditional opera literature.Secondly, this paper affirms the imperial characteristics and the style of marketplace which are the historical results of aesthetic transformation in literature of modern times. It not only accords with the present needs of literary history which constantly broaden its studying field of vision, but also set up the self-characteristics of Peking Opera literature compared to scripts in Yuan, Ming and Qing Dynasties.Thirdly, this paper finds and expounds some extremely valuable early scripts of Peking Opera and comments from historical and acting files of Qing Dynasty. For instance, the research on the script Full of Errors written by the early writer is of opening meaning. This offers new means and clues to the further development of Peking Opera history, traditional opera, even Chinese literary history as well.更多还原