摘要
近百年来,戏曲学界一直遵从王国维先生的戏曲"由叙事体而变为代言体"这一观点,将"代言体"视为戏曲形态。从语义学和剧场交流语境的角度,对中国戏曲形态进行重新审视,可以发现:无论是用"叙事体"还是"代言体"来解读现存的戏曲剧本,都不同程度地存在着盲点,取代它们的是"演述体"。
Since the 20th century , scholars of Chinese Xiqu have continuously followed the viewpoint on Chinese Xiqu “from Narrative to Speech-Singing Acting (代言体)” pointed by Wang Guo-wei, and they maintain that the state of Chinese Xiqu is “Speech-Singing Acting”. In terms of semantics and theatrical exchange context, by reexamining the state of Chinese Xiqu again, we find many confusions in explaining the play of Chinese Xiqu in terms of“Narrative” or “Speech-Singing Acting”. Thus we replace “Narrative” or “Speech-Singing Acting” by “recreational aesthetic play(演述体)”.
出处
《华南师范大学学报（社会科学版）》
CSSCI
2004年第4期41-50,共10页
Journal of South China Normal University：Social Science Edition
关键词
戏曲形态
代言体
叙述体
演述体
the state of Chinese Xiqu
“Speech-Singing Acting”
Narrative
“recreational aesthetic play”
