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一 我国古典剧目之多,用“剧山曲海”来形容毫不过分。以庄一拂的《古典戏曲存目汇考》为例,其中收入戏文凡三百二十余种、杂剧一千八百三十余种、传奇二千五百九十余种,总计四千七百五十余种。如此规模宏大的一个宝库,我们当然可以从历史发展的角度去描述它,从艺术风格的角度去分析它,从创作流派的角度去规范它;同样,我们也可以进行作家作品的局部研究、地域性和文化影响等方面的考察。但这一切如果不同戏曲题材问题结合起来,那将是不全面的,甚至有时会出现巨大偏差。这是因为,我国古代戏曲的创作,从其题材上说,具有
One of our country’s classical repertoire, with “Opera Mountain” to describe it is not excessive. Take Chuang Yifu’s “Classical Chinese Opera Project Remittance Test” as an example. Among them, there are more than 320 kinds of income drama, more than 1,830 kinds of drama, more than 2,509 kinds of legend, a total of 4,000 More than seven hundred kinds. Of course, we can describe it from the perspective of historical development, analyze it from the perspective of artistic style and regulate it from the perspective of creative genre. Similarly, we can carry out some studies on the works of writers. Sexual and cultural impact of such visits. But if all this is combined with the different themes of the opera, it will not be comprehensive and there will be even huge deviations sometimes. This is because the creation of ancient Chinese operas has, from its themes, that it has