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早在明人,对早期戏文的脚色设置就存在不同性质的误解;近人所据戏文资料有限,未免承明人之误。以旦色为例,“旦”其实是在南戏由科诨小戏(念作为主)向抒情大戏(歌唱为主)发展的过程中逐渐定型的,并进一步分化出“贴”、“夫/老旦”、“小旦”等,其时约始于元末,迄于明嘉隆之际。这一过程与多用妓乐、南北曲的交流、婚姻爱情题材的发展及文人参与密切相关,实际上也意味着人的感情的具体内涵———也就是作为个体的人的独特性———在戏文中的发展与演变。如此,旦色的发展,实际标志了南戏的发展与文人参与下传奇的确立。
As early as Ming people, there are different kinds of misunderstandings on the roles of early stage play. In the example of Danden, “Dan” is gradually shaped in the process of the development of South Opera by the drama of Kotnis (read as Lord) to the lyrical drama (singer-dominated), and further divides the “post”, “husband / ”,“ Little Dan ”, etc., about the time began around the Yuan Dynasty, as Ming Jia Long on the occasion. This process is closely related to the use of prostitutes, the exchange of North and South songs, the development of the theme of marriage and love and the participation of literati. In fact, it also means the concrete connotation of human feelings --- that is, the uniqueness of individuals as individuals --- The development and evolution in the essay. Thus, the development of Danse, the actual sign of the development of South play and scholars under the legendary establishment.