摘要
对于沈璟的曲学,以往学术界较多局限于"汤、沈之争"的思维之中,没有给予足够的重视和客观评价。本文认为:在明代中叶后,不少文人积极创作戏曲作品,但他们没有可以遵依的曲律规范,加之吴中昆山腔兴起,所创作的剧本难以在舞台演出或演唱,因此他们都面临着戏曲创作的"技术性难题"。沈璟针对这一现状,提出了"词人当行,歌客守腔"的理论主张,并通过编纂《南曲全谱》等多种曲学著作,示以范式,化解了戏曲创作的技术性难题,赢得了诸多创作者的推崇,为明代中叶后的戏曲创作做出了重要贡献。
When it comes to Shen Jing＇s idea of poetic drama writing,scholars used to confine themselves to his controversy with Tang Xianzu,instead of paying sufficient attention to and making objective evaluation of Shen Jing＇s other ideas. This article argues that though many literati since the mid-Ming Dynasty were active in the creation of xiqu works,the scripts they created were very difficult to be staged and sung,because there were no rules of creation to be followed. They were neither unsuitable for kunju emerged in the Wuzhong area of Suzhou. Therefore,literati were faced with＂technical problems＂during their creation. To solve such problems,Shen Jing put forward the theoretical proposition that xiqu writers should be proficient in rhythm,and he made paradigmatic demonstrations by compiling various works on poetic drama writing such as The Complete Collection of Tunes of the Southern Drama. Shen Jing won undivided admiration from many drama creators,and made significant contributions in this respect.
出处
《文艺理论研究》
CSSCI
北大核心
2017年第4期110-118,共9页
Theoretical Studies in Literature and Art
关键词
沈璟
技术性难题
曲学贡献
Shen Jing
technical problems
contribution to traditional drama
