论文部分内容阅读
《红楼梦》这样规模宏大、内容繁复的题材,即便经过精巧地缩略与加工,若选择以黄梅戏的方式演绎,依然难逃内容与形式有失契合的尴尬。相比较而言,《双下山》讲述的僧尼冲破世俗桎梏、大胆追求淳美爱情的故事,附以清新、朴野的黄梅戏演剧模式,珠联璧合、恰到好处。以戏剧主情论代表汤显祖的主情理论解读两部作品,两部戏均有各自值得称道的地方。《双下山》与《红楼梦》中的情虽一喜一悲,但都基本达到了李渔所谓的“在人情物理之中”和“出寻常视听之外”的情之二重要求。
Even if the theme of “Dream of Red Mansions” is so large in scale and complex in content, even if it has been delicately abbreviated and processed, if the choice of the interpretation of the Huangmei opera is still unavoidable, the content and form are still in the wrong embarrassment. In comparison, the monks and nuns described in “Double Down Mountain” break through the secular grudges and boldly pursue the story of pure beauty and love, attached to the fresh and unpretentious Huangmei opera model and perfect match. Interpreting two works based on the theory of the sentiment of the drama on behalf of the representative of Tang Xianzu, each of the two plays has its own commendable place. Although there is a happy and a sad feeling in “Double Down the Mountain” and “Dream of Red Mansions”, they all basically reach the two important demands of Li Yu’s so-called “love affair” and “love affair”.