摘要
明清戏曲及其批评(尤其是明中期到清初期这一时期)的特点在于"规范"。这种"规范曲学"通过对戏曲的评品而树立戏曲各层面的规范,从而指导戏曲写作。明中期到清初期是中国戏曲最重视规范的时期,它突破了之前曲学只重视如何"制曲"的局限,普遍意识到并关注了戏曲"写什么"与"怎么写"的问题。"规范曲学"使中国戏曲形态更精致化,但也在一定程度上限制了创作者个人独特思想的表达与使中国戏曲形态更多元的探索。
The opera in Ming and Qing dynasties, especially from the middle Ming dynasty to the Early Qing dynasty, was characterized by a process of ＂standardization＂. Through the evaluation and judgment of the scripts, Standardization of Studies on classic Qu aimed at teaching people how to compose Chinese traditional opera. Actually, during this period of time, standardization was emphasized, which broke the limitation of composing Qu, the issues about ＂what to write＂ and ＂how to write＂ were noticed. Standardization of studies on classic Qu made Chinese traditional opera more exquisite, meanwhile, to some extent, it limited the expression of playwrights＇ individual thoughts and restrained the multiple possibilities of Chinese traditional operas.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2015年第3期46-56,共11页
Drama:The Journal of the Central Academy of Drama
关键词
规范曲学《闲情偶寄》叙事
明清曲学
Standardization of studies on classic Qu, Xian Qing Ou Ji, Narration, studies onclassic Qu in Ming and Qing Dynasties
