摘要
在晚明曲学命题“本色”内涵渐趋紧缩且日益流连于语言形式层面的理论背景下,凌濛初在其曲论阐述中由戏曲语言通达到语言之主体,一方面标举“古质自然”的语言风格,另一方面将“本色”与人物形象塑造联结起来,主张戏曲人物语言的性格化,为晚明曲学“本色”论的发展注入了新的活力,突显出不同于其他文体“本色”论的本质特点,具有重要理论意义。
In late Ming Dynasty, the connotation of the opera theories proposition,＂true quality＂,was gradually reduced and lingered in the aspect of language form. Under this theoretical background, Ling Mengchu,elaborated his standpoint of ＂ true quality＂ from the point of opera language to the main body of language. On the one hand he claimed a simple and natural language style,on the other hand he combined the ＂ true quality＂ with the creation of character image, and advocated the characterization of language of the opera characters. His standpoint, which is outstanding with an essential feature and distinguishes itself from other relevant opera theories,infused a fresh vigor to the development of ＂ true quality＂ studies in late Ming Dynasty,and had a great theoretical significance.
出处
《泉州师范学院学报》
2006年第5期87-92,共6页
Journal of Quanzhou Normal University
关键词
凌濛初
本色
语言风格
人物个性
Ling Mengchu
＂true quality＂
the style of language
character personality
