摘要
关于宋金杂剧的相关史料,只有个别笔记小说有零星的记载,但也仅限于剧目及其演出。对于宋金杂剧作为一种戏剧本体的认知,除了封建士大夫把这一新兴的通俗文艺样式作为“词余”、“末技”加以鄙视和排斥的文字记录外,宋金时期,特别是金代普通民众的戏曲观念,记载阙如。山西稷山段氏金代“戏养神”砖铭的发现,极具价值。“戏养神”作为金代北方民间的戏曲观念,既反映了当时杂剧、院本的流行对民间百姓思想观念的深刻影响和深厚的群众基础,也表明了民间戏曲观与正统观念的对立和冲突,从而促使我们进一步思考戏曲形成的内在动因。
Of all the historical materials on the drama of Song and Jin dynasties, apart from those that study the aspects of repertoire and performance of drama, those that take drama as drama for a study, especially those that record the popular viewpoints of drama are few,though feudal literati of the time gave sorts of account of drama as a new genre of popular literature. The discovery of the brick inscription of “Drama Fostering Spirit” in Shanxi is of great value. As a viewpoint of drama,this inscription reflects the great impact of drama on folk ideology and its popularity among the general masses. It also shows the opposition and conflict between the popular and orthodoxy views of drama,and it is therefore very helpful for us to further investigate the internal constitution of drama in these dynasties.
出处
《文艺研究》
CSSCI
北大核心
2005年第12期77-85,共9页
Literature & Art Studies
