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根据《红楼梦》小说进行戏曲改编,是清代中叶时人所热心从事的创作之一。明清时期,戏曲文学受到传统的历史真实观和文以载道观的双重桎梏,但这并不能阻遮一些敏锐的作家们文学观念的自觉意识,反映到当时的戏曲创作中,便是新旧文学观念的交织。在这方面,清代《红楼梦》戏曲①可以说为我们提供了强有力的研究底本。从中,我们不难看到:剧作家们为确认戏曲是文章之一体所作的尝试与努力,却无法彻底摆脱传统文学观念的影响;他们以《红楼梦》这一虚构故事为依傍进行戏曲创作,意在文即是道、情即是道,但最终却取径于调和情理。
According to the “Dream of Red Mansions” novels adapted for opera is one of the earnestly engaged in the creation of the mid-Qing Dynasty. In the Ming and Qing Dynasties, opera literature was subjected to the double truths of the traditional historical truth view and the article view of bearing the load. However, this did not obstruct the conscious consciousness of some keen writer’s literary concepts. Reflected in the creation of opera at that time, Intertwined. In this regard, the opera “A Dream of Red Mansions” in Qing Dynasty can be said to provide us with a strong research foundation. From this, we can easily see that the dramatists who tried to confirm that opera was one of the articles did not completely get rid of the influence of the traditional literary concepts. They wrote drama with the fictional story of “Dream of Red Mansions” The text is the Tao, the feeling that is Tao, but ultimately take the path to reconcile reason.