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王骥徳的《曲律》中“兼论散曲与戏曲”。对此,叶长海教授在《中国戏剧学史稿》中提出了“散曲也可为戏曲论所吸收”[2]的有力论断,阐明了王骥徳戏剧观中对于诗书画三者与曲的贯通性。他还总的将王骥徳《曲律》分为作家作品论和戏曲创作论两个部分。其中,将戏曲创作论作为王骥徳理论中的重点,并将戏曲创作论中的精华之精华归纳为四个大论:风神论,虚实论,本色论和当行论。这四论的总结可以说将王骥徳在《曲律》中的戏剧观做了一个整理,也为后辈对王氏
Wang Ji DS ’s “music” in “and on Sanqu and opera ”. In response to this, Professor Ye Changhai proposed in his “History of Chinese Drama” that “Sanqu can also be absorbed by the theory of opera” [2], and expounded Wang Ji’s dramatic view on the three verses of poetry, calligraphy and painting Throughness. He also always divided Wang Ji-du’s “melody” into two parts: the writer’s work theory and the drama creation theory. Among them, the theory of drama creation is regarded as the key point of Wangji DS theory, and the essence of the essence of drama creation theory is summed up into four major theories: Aeolus theory, empiricism theory, metaphysics theory and theory of deontology. The conclusion of these four theories can be said that Wang Ji DS in the “melody” in the drama view made a finishing, but also for the younger Wang