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作为首先将传统戏剧中的作剧与作曲两分的戏剧理论家之一,戏剧叙事是李渔戏剧理论讨论的核心对象,而其中对“人情物理”原则的推崇又是其戏剧叙事理论的基础,但是在其戏剧作品中却普遍存在着超出这一原则的“神引”情节模式。本文将从李渔《闲情偶寄》中起创的“便面窗”所蕴含的空间理念出发,循索李渔对于戏剧叙事的深层理路,阐释李渔这一理论与实践的矛盾中所蕴含的戏剧思想,另辟蹊径解读李渔所传达的传统戏剧“戏之为戏”的内在特质。
As one of the theatrical theorists who divides the two parts of drama and composition in the traditional drama first, drama narration is the core object of Li Yu’s drama theory discussion, and the esteem of the principle of “human affairs physics” is the theory of drama narration However, in his dramatic works, there is a widespread “plot” plot beyond this principle. This article will proceed from the space concept contained in “noodles window ” created by Li Yu The other way is to interpret the inherent traits of traditional drama “drama as drama” conveyed by Li Yu.