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題 名 | 論「章法」「格局」在戲曲批評史上的意義=On the Concepts of Zhangfa (Textual Rules) and Geju (Contextual Rules) in the History of Drama Criticism |
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作 者 | 李惠綿; | 書刊名 | 臺大中文學報 |
卷 期 | 15 2001.12[民90.12] |
頁 次 | 頁147-192 |
分類號 | 822.62 |
關鍵詞 | 章法; 格局; 關目; 情節; 結構; 排場; Zhangfa; Textual rules; Geju; Contextual rules; Guanmu; Label; Qingjie; Plot; Jiegou; Construction; Paichang; Theatrical spectacle; |
語 文 | 中文(Chinese) |
中文摘要 | 戲曲的情節發展必然具有一個秩序的變化過程,此變化過程相當於亞里士多德所謂「開始、中間、結束」,古典劇論沿用的是律詩要法中的「起、承、轉、合」。就古典戲曲情節發展的組成部分而言,「起」即開端,「承」即發展,「轉」即高潮,「合」即結局。王驥德將此模式題曰「章法」又曰「格局」。由於雜劇、傳奇各有其不同的體製規律,故劇作家必須在其體製規律之內布置開端、發展、高潮、結局,李漁將這種規律與體式稱為「格局」。本文以「章法」「格局」為題,即包括戲曲情節關目在內的段落發展形式和外在的體製規律。因此以王、李二家明確標題的術語為題目,而元明清與此相關之概念亦納為論述材料。 章法、格局理論的內涵及其發展大致包括四條線索。一、情節與章法格局之關係:指頭、腹、尾或起承轉合之法。二、體製與格局之關係:這線索有兩方面,其一就整體格局論述者,其二就局部格局論述者。三、立意與章法之關係:強調劇作命意思想。四、相關要素與章法之組合關係:即其他藝術要素與章法之間的搭配組合。以上四條線索,前兩條是構成章格局論的主體且重要的內涵,因此論述者最多;後兩條則是由章法格局延伸出來的論題,其實已經跨入結構論範疇。 |
英文摘要 | The plot development of drama follows an order which corresponds, roughly, to the Aristotelian process of beginning, middle, and end. In classical critical discourse the formula originally used in lushi (lyric poetry with rhymed couplets), namely, qi (rise or expositio), cheng (succession or amplificatio), zhuan (turn or peripateia), and he (close or peroratio) was appropriated. As a plot component, qi refers to the beginning of drama, cheng its development, zhuan its pivot, and he its ending. Wang Deji labels this patterning zhangfa or geju. Since zaju (miscellaneous drama popularized in the Yuan Dynasty) and chuanqi (drama of the marvelous typical of the Ming Dynasty) each follows its own rules of organization, playwrights have to construct their plots according to the prescribed generic guidelines. Li Yu also terms these structural principles geju. As its title suggests, this essay serves to survey Wang's and Li's concepts of zhangfa and geju and other similar notions of plotting and stylistic conventions in the Yuan, Ming, and Qing Dynasties. There are four approaches to the theory and history of zhangfa and geju: (1) inquiry into the relationship between qinigjie (plot) and zhangfa or geju; this refers to the afore-mentioned sequence involving beginning, middle, and end or qi, cheng, zhuan, he; (2) inquiry into the relationship between conventions and geju, both on the local and global levels; (3) inquiry into the relationship between playwright's intention and zhangfa, with emphasis on his intended meaning; (4) inquiry into the structural relationship between zhangfa and pertinent components on other artistic levels. Among the four approaches, (1) and (2) constitute the ontology of zhangfa and geju, which has been much discussed; (3) and (4) are extended topics concerned with theory of structure. |
本系統中英文摘要資訊取自各篇刊載內容。