摘要
宋金元杂剧中皆有“末泥”,然其称呼承载着不同意向所指。分而论之,关于宋金杂剧“末泥”色,其于杂剧演出过程中职司“主张”。在元杂剧中,根据其“一人主唱”的脚色体制的不同,可分为“末本”戏与“旦本”戏两类。在“末本”戏中,其主唱脚色为正末,亦被称作末泥,简称为末。对于宋金与元杂剧中两个“末泥”的研究,以往论者主要集中于对其脚色来源的考察,且研究多从文献史料记载中探索其渊源。然因二者名同实异,故而导致在研究论述的过程中,往往出现将宋金杂剧“末泥”与元杂剧“末泥”相混淆的情况。这种胶柱鼓瑟状况的长期存在表明,有必要对两个“末泥”正本溯源。
The drama of Song,Jin and Yuan dynasties has“Mo Ni”,but its name bears the meaning of different intentions.In other words,regarding the“Mo Ni”of the Song and Jin drama,it was“proclaimed”in the drama performance.In the Yuan drama,according to the different roles of the“one person singer”,it can be divided into two categories:“Mo play”and“Dan play”.In the“Mo play”,the main singer is the“Zheng Mo”and is also called the Mo Ni,referred to as the Mo.For the study of the two“Mo Ni”in Song Jin and Yuan Drama,previous scholars mainly focused on the investigation of the source of their roles,and the research mostly explored their distant sources from the historical records of the literature.However,because the two names are the same,it is often caused by the confusion between the Song Jin drama and the Yuan drama in the process of research and discussion.The long-term existence of this situation indicates that it is necessary to trace the origin of the two“Mo Ni”.
作者
陈美青
楚二强
CHEN Meiqing;CHU Erqiang(School of Drama and Film,Shanxi Normal University,Linfen 041000,China)
出处
《重庆邮电大学学报（社会科学版）》
2020年第2期133-140,共8页
Journal of Chongqing University of Posts and Telecommunications(Social Science Edition)
基金
国家哲学社会科学基金重大项目:中国戏曲文献搜集、整理与研究(17ZDA244)。
关键词
末泥
脚色
宋金杂剧
元杂剧
“Mo Ni”
opera roles
Song Jin drama
Yuan drama
