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我国古代剧作家很早就将神仙题材纳入了戏曲创作。其中,马致远对神仙题材的处理颇有高明之处。他在处理神仙题材时往往杂取多个故事合成一个,形成了固定的结构模式,并且善于挖掘神仙的独特内涵,将全真道思想、神仙语言和法术巧妙地融入剧中,于窠臼中出变化,在杂剧的矛盾设置和舞台表演上翻新出奇,从而取得了强烈的艺术感染力。从创作的角度审视马致远处理神仙题材的方式,不仅为深入理解马致远神仙道化剧提供了新的视角,而且对认识我国古典戏曲在成熟阶段对神仙题材的吸收和表现亦颇有帮助。
Ancient Chinese dramatists have long included fairy themes in drama creation. Among them, the horse Zhiyuan treatment of fairy tale quite clever place. When dealing with immortal themes, he often mixes multiple stories into one and forms a fixed structural model. He is also good at digging the unique connotations of gods, skillfully integrating Quanzhen Taoism, immortal languages and spells into the play, Changes in the contradictions of theatrical settings and stage performances on the renovation surprising, which has made a strong artistic appeal. Examining the ways in which Ma Zhiyuan deals with immortal themes from a creative point of view not only provides a new perspective for understanding Ma Zhiyuan’s immortal Taoist drama, but also helps to understand the absorption and performance of the mythical theme in the mature stage of Chinese classical drama.