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俄国著名作家果戈里说:“戏剧只活在舞台上:没有舞台,它就像没有灵魂的躯壳。”(转引自季摩非耶夫《文学原理》)。舞台性是戏剧文学区别于其他文学体裁的一个重要标志。对戏剧文本的解读,不能脱离舞台的规范而进行纯文本的观照。马致远的《汉宫秋》敷演昭君和亲故事, 历来评价甚高。清焦循《剧说》:“元明以来,作昭君杂剧者有四家。马东篱《汉宫秋》一剧,可称绝调,臧晋叔《元曲选》取为第一,良非虚美。”明孟称舜曰:“读《汉宫秋》剧,真若孤雁横空,林风肃肃,远近相和。前此惟
Gogol, a famous Russian writer, said: “The play lives only on the stage: there is no stage, it is like a body without a soul.” (Quoted from Ji Mofeiev “literary principle”). Stageplay is an important symbol of drama literature that distinguishes it from other literary genres. Interpretation of the dramatic text, can not be separated from the norms of the stage and plain text view. Ma Zhiyuan “Han Gong Qiu” Fu Zhaojun play and pro story, has always been highly valued. Qing Jiao followed the “dramatic”: “since the Yuan Dynasty, Zhaowan Zaju there are four. Ma Dongli” Han Gongqiu “a drama, can be called tone, Zang Jin Shu” Yuan Opera “as the first, good Xu Mei. ”Ming Meng said Shun said:“ read ”Han Gong Qiu" drama, if the solitary wild goose skyrocketing, forest wind, near and far.