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以《琵琶记》、《荆钗记》与《苏秦记》为例,早期戏文在明前中期的变动突出了旦色的表演。所易情节或为女性种种委屈艰辛的叙述,或为祝寿、游赏、闺中思忆等场次,均涉及闺忆闺怨内涵。这一变动显然源于当时伎乐环境(尤其是弦索弹唱)的影响,而增益了某种情感因素。换言之,闺中的思忆与怨怼,直接书写了女性在伦理环境中命运的酸楚,而透露了人们对传统价值体系与道德体系认同与否的两难处境。对这一个体与环境、情与理的冲突,三种戏文各有表述,而典型地体现了明前中期戏文发展的复杂性。
Taking “Pipa”, “Jing Chai Ji” and “Su Qin Ji” for example, the changes of early drama in the middle and early Ming dynasties highlighted the performance of Danse. The plot is easy for all kinds of wronged female hard narrative, or for the birthday, tours, memories and other activities in the boudoir, are involved boudoir girlfriend connotation. This change apparently originated from the influence of the karaoke environment at that time (especially the string chords), which increased the affective factor. In other words, the memories and grievances in the ladies directly write the sourness of women’s fate in the ethical environment, revealing the dilemma of whether people agree or disagree with the traditional value system and moral system. Conflicts between this individual and the environment, love and reason, each of the three kinds of essay has its own expression, but typically reflects the complexity of the development of the drama in the middle and early Ming Dynasty.