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《蜀鹃啼传奇》反映的是义和团时期浙江教案的实情。传奇中的主要人物是官员、隐士、读书人,延续的是摄取传统士绅作为正面人物的基本路径。《蜀鹃啼传奇》塑造出一组棱角分明的人物群像,其中至为闪亮者是打教派好汉罗楠。罗楠是全剧中唯一带有传统豪杰身份的戏曲形象,亦为全剧中极具有阳刚精神的闪光点。《蜀鹃啼传奇》为悲剧,全剧高潮时段连续再现凶险的暴力场面,揭示了悲剧的残酷性和血腥味。但是,剧作穿插有大量江南隐逸情调的背景和情节元素,首尾两场戏,皆弥漫江南隐逸风尚。林纾《蜀鹃啼传奇》体现出晚清、民国时期士绅的欣赏趣味,以帝王将相为关注热点,以故国之思为情感主调,寄托了士绅集团的哀婉情思。全剧风格哀婉清丽、凄艳悲怆。传奇融刚为柔,寓烈于雅,以举重若轻之笔法,抒悲天悯人之情怀,其设意技法与风格定位,皆值得后人珍视。
“Legend of Shu Juan Ci” reflects the truth of Zhejiang lesson plans during the Boxer era. The main characters in the legend are officials, hermits and scribes. The continuation is the basic path taken by the traditional gentry as a positive figure. “Legend of Shu Juan Tigao” shaped a group of angular character groups, of which the shining is playing a good teacher Luo Nan. Luo Nan is the only drama with the identity of the traditional hero of the drama, but also for the whole play in a very masculine flash point. “Legend of Shu Tigao” as a tragedy, the climax period of the continuous reproduction of dangerous scenes of violence, revealing the tragedy of the cruel and bloody flavor. However, the drama interspersed with a large number of southern Habitat background and plot elements, both ends of the scene, are permeated the southern reclusive style. Lin Shu’s “Legend of Shu Juan Ci” reflects the appreciation of the gentry in the late Qing Dynasty and the Republic of China. It takes the emperors as the focus of attention and the thoughts of the latter countries as the main theme of their emotions, placing the sad feelings of the gentry clique. The style of the show is gentle and graceful, miserable. Legends just as soft, flirtatious in the elegant, with no worries, express compassion and compassion, its design techniques and style positioning, are worth the descendants cherish.