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在李渔的戏曲理论中有“机趣”一说,而李渔认为戏曲作品能达到有“机趣”的一个基本前提则是戏曲作者应该拥有的“性灵”。本文拟探讨李渔的“性灵”说之理论来源及在李渔的创作中的体现。
In Li Yu’s theory of drama, there is “Fun ”, while Li Yu believes that the basic premise for opera works to have “Fun ” is that the opera author should possess “sexual spirit ”. This article intends to discuss the origin of Li Yu’s theory of “sexual spirit” and its embodiment in Li Yu’s creation.