摘要
当前的黄宗羲戏曲学思想研究存在着为尊者讳的倾向,实际上黄宗羲虽然热衷观剧,却对演员抱有成见。黄宗羲推崇剧作家的创作力、批评家的推动力,却漠视演员在剧本创作、舞台演出中的主体精神,这与明末清初家班盛行及刘宗周对他的影响密切相关。作为一代大儒,黄宗羲延续着传统"行家生活"与"戾家把戏"的论争。他对士大夫与演员的社会分工进行了严格区分,坚决反对演员在"乱世"中参与政治活动。如果将黄宗羲的演员论放置到戏曲理论体系中,放置到明末清初的特定发展阶段中,就会发现其中的傲慢与偏见。
A distinct tendency of respect is observed regarding the thoughts and studies of Huang Zongxi on Chinese traditional opera. In fact, Huang Zongxi appreciated drama in his life, while he had always been critical towards the performers. He valued highly playwrights and critics, yet he disregarded actors through whose rendition the scripts and performance materialize. The causes for such discrimination involve the thriving family troupes, as well as Liu Zongzhou＇ s influence. As a true Confucian, he continued the debate between connoisseurs and non-professionals. He distinguished the responsibilities of the scholar-bureaucrat and the actor, and revolted the actor who fell over himself for politics, especially in the turbulent times. If we relate his thoughts and theory on drama to the context of late Ming and early Qing dynasties, we will discover easily his pride and prejudice towards actors.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2013年第4期80-89,共10页
Drama:The Journal of the Central Academy of Drama
基金
山西师范大学2012年度社科基金一般项目阶段性成果
项目编号YS1219
关键词
黄宗羲
演员论
偏颇
曲学本位
士大夫
Huang Zongxi, theory on performers, partial, studies of traditional opera, scholar-bu- reaucrat
