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明末清初戏剧家孟称舜认为戏剧语言的根本任务在于塑造有血有肉的人物形象。戏剧语言不同于诗词的语言 ,孟称舜既反对戏剧语言的酸腐和词藻的华丽 ,也反对戏剧用语的过于俚俗。他提倡本色语言 ,强调语言的“趣”。孟称舜重视“宾白” ,他把宾白与曲文等同视之。古代曲论家在论述戏剧风格时 ,往往是就作品的曲文而言的。孟称舜在《古今名剧合选》的眉批中 ,对许多作品的整体风格作了品评。他的曲风论主要谈了两个问题 ,一是不能以风格论高低 ;二是反对当时流行的“北主劲切 ,南主柔远”的看法。最后他还强调了独创性对作家形式风格的作用。
Ming and Qing dynasty dramatist Meng Baishun that the basic task of dramatic language lies in shaping the image of the flesh and blood. Drama language is different from the language of poetry, Mengzhengshun both against the sourness of the language of the drama and rhetorical gorgeous, but also against the theatrical vulgar vulgar language. He advocates natural language, emphasizing the “fun” of language. Meng said Shun emphasis on “guest white”, he put Binbai and the same with the Qu Wen. Ancient songwriters in the discussion of theatrical style, often in terms of works of the melody. Meng Shishun criticized the overall style of many works in his essay “Combining Ancient and Modern Drama.” His theory of genre mainly talks about two issues. One is that it can not be based on style. The other is opposition to the prevailing view of being popular with the North and being far away from the South. Finally, he also emphasized the role of originality in the formal style of writers.