【作者】 李敏；

【导师】 樊庆彦；

【作者基本信息】 山东大学 ， 中国古代文学， 2023， 硕士

【摘要】 晚明笔记数量丰富,价值较高,是晚明文人文化心理和时代精神的折射,同时也是一座盛大的戏曲史料宝库。这些史料虽然散乱,连缀成珠便弥足珍贵。无论是戏曲理论、曲家生平、优伶轶事,还是演剧景况、案头品评、百戏伎艺,皆能从中发现充满个性的描绘。这些偶发言论的细节性、独特性无疑又提升了来自笔记中的戏曲史料于戏曲史和戏曲批评史上的价值。将其进行分类整理和挖掘,借助相关历史资料,便可还原一个真实的晚明剧坛。论文共分为五个部分.绪论中对“笔记与晚明”的相关背景进行介绍,包括“笔记特点与分类”,以及“晚明”的时间界定。同时介绍研究综述和选题意义。第一章对晚明笔记所见戏曲史料进行概观,提炼出晚明笔记的作者与戏曲的深厚渊源,探究出晚明笔记中何以拥有如此丰厚的戏曲史料,并对其中的戏曲史料分类举隅,以期对其产生外侧和底层的认知。第二章辑考晚明笔记中出现的有关曲家行实的史料,从中整理出三则具有一定更新认知意义的论述:考察到散曲家金銮不为人知的北曲素养、厘清了涉及朱恩鑡与朱宪(?)二者作品归属时的混乱状况,确认曲家何良俊之弟的姓名为“何良傅”而非“何良传”.第三章专论晚明笔记中所体现出的文人戏剧观念:在情感表达、舞台呈现和功用探析上均具有较为鲜明的审美色彩,展现出重情、尚美、生新、享乐的特点,与时代风气息息相关。第四章讨论晚明笔记中所映射的曲场生态:以数据表格的方式呈现当时频繁上演的剧目剧段,演剧反馈上则体现了场上与场下的良好互动,此外,士人园林是这一时期最具特色的演剧环境,铸造戏曲文化圈层,提升戏曲高雅基调。总之,第二、三、四章分别对应的是曲家、曲观、曲场,这些层面立体交叉、相互映衬、相互影响,充分显示出晚明剧坛的人才济济、理论特色和活跃场面。更多还原

【Abstract】 The literary sketches of the late Ming Dynasty are abundant and of high value,which is a reflection of the cultural psychology and the spirit of The Times and also a huge treasure house of traditional Chinese opera historical materials.Although these historical materials are scattered.they are even more precious when they are made into beads.No matter it is drama theory.the life of the composers,the anecdotes of the actors,or the scene of the drama.the review of works,all kinds of drama skills.can be found in the depiction full of personality.The details and uniqueness of these occasional remarks undoubtedly enhance the value of the historical data from the literary sketches in the history of drama and drama criticism.By classifying and excavating it,with the help of relevant historical data,we can restore a real Chinese opera world in the late Ming Dynasty.This paper is divided into five parts.In the introduction,the relevant background of "literary sketches and the Late Ming Dynasty" is introduced,including"Characteristics and classification of literary sketches" and the time definition of"Late Ming Dynasty".At the same time,the research summary and the significance of the topic are introduced.The first chapter makes an overview of the historical materials of Chinese operas seen in the literary sketches of the late Ming Dynasty,extracts the deep links between authors of the literary sketches and operas,explores why there are so rich historical materials of Chinese operas,and classifies them in order to produce the outside and bottom cognition of them.The second chapter examines the historical materials about dramatists’ practice in the literary sketches of the late Ming Dynasty and sorts out three statements with certain cognitive updating significance,for example,digging the opera literacy of Jin luan,known as the Sanqu writer,clarifying Zhu Enchuo and Zhu Xianjie’s attributions problem of chaos,and confirming the name of He Liangjun’ brothter.The third chapter focuses on the literati drama aesthetics reflected in the literary sketches of the late Ming Dynasty,showing the characteristics of love,beauty,novelty and enjoyment in the emotional aesthetic,stage aesthetic and functional aesthetic,which is closely related to the fashion of the Times.The fourth chapter discusses the drama acting ecology,presenting the plays that were frequently staged in the form of data tables.The feedback of the plays reflects the good interaction between the stage and off the stage,and the relationship between actors and directors is also more integrated.In a word,the second,third and fourth chapters respectively correspond to the dramatists,the opera view and the opera performance.These three levels are "trinity" and three-dimensional intersection,fully showing the activity and characteristics of the opera circle in the late Ming Dynasty.更多还原