明清传奇戏曲叙事结构的演化

明清时期文人曲家的传奇戏曲创作,一直在长篇体裁的开放叙事与戏剧艺术的内敛叙事之间彷徨抉择,传奇戏曲叙事结构因此呈现出种种不同的状貌。明中期的文人曲家对开放叙事情有独钟,但往往置内敛叙事于不顾。万历年间的文人曲家毫无节制地驰骋自身的知识和才情,力图让传奇戏曲容纳丰富的社会历史内容和细腻的主体审美感受,但仍然普遍漠视内敛叙事。明清之际的许多文人曲家一改前辙,以内敛叙事为主、开放叙事为辅,创构了严谨的情节结构和精巧的排场结构。而清前期的一些正统文人曲家则热衷于象征叙事结构,成为清中后期传奇戏曲"以文为曲"的先导。文人曲家对内敛叙事的抛弃,从一个方面加速了传奇戏曲文体的消解。

On the Evolvement of the Narrative Structure of the Chuan-qi Drama in the Ming and Qing Dynasties

In the Ming and Qing Dynasties,the Chuan-qi Drama of the literati authors hovered between the open narrative and the limitable narrative. Most of the literati authors in the Ming Dynasty were in deep love with the open narrative so that they ignored the limitable narrative largely. Until between Ming and Qing,many literati authors adopted the limitable narrative and created the precise dramatic structure. But some of the authors in the prophase of the Qing fell over for the symbolic narrative. They became the precursor of the authors in the anaphase of the Qing. It caused the dissolution of the Chuan-qi Drama that the literati authors had given up the limitable narrative.