| 明杂剧脚色考论 |
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| 引用本文： | 元鹏飞.明杂剧脚色考论[J].东南大学学报(哲学社会科学版),2010,12(3). |
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| 作者姓名： | 元鹏飞 |
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| 作者单位： | 河南大学,文学院,河南,开封,475001 |
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| 基金项目： | 国家社科基金一般项目 |
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| 摘 要： | 戏曲脚色实际是由宋"杂剧色"演变而来的,完备的脚色体制出现于南戏中,元杂剧中则是"泛脚色"与末、净、旦的混合。明杂剧既有延续元杂剧脚色混杂的特点,也有采用南戏脚色的特点,最值得关注的是出现了把元杂剧与南戏脚色体制相混淆的情况。而且,正是通过考论这些脚色的混淆运用情况,使我们了解到脚色发展形成的一些规律。脚色的发展规律具有"以小见大"实证性地反应中国古典戏剧形态演化的特点。
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| 关 键 词： | 杂剧脚色 南戏脚色 混淆 发展规律 |
A research on role system of Ming opera |
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| YUAN Peng-fei.A research on role system of Ming opera[J].Journal of Southeast University(Philosophy and Social Science ),2010,12(3). |
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| Authors: | YUAN Peng-fei |
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| Abstract: | New research shows that role in opera is actually evolved from the role in Song opera.A complete role system was established in Nanxi,a kind of local classical opera in South China while in Yuan opera the role is the mixture of different roles.In Ming opera,the most noteworthy point is the mixture of both role systems in Yuan opera and Nanxi.It is through this mixture that we find the laws of role development which reflects the characteristics of morphological evolution of Chinese classical drama. |
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