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題名 | 明代組劇的美感型態=The Aesthetic Style of "Tsu-Chü" (Drama Set) in the Ming Dynasty |
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作者 | 游宗蓉; Yu, Tsung-jung; |
期刊 | 東華人文學報 |
出版日期 | 20080700 |
卷期 | 13 2008.07[民97.07] |
頁次 | 頁155-188 |
分類號 | 822.4 |
語文 | chi |
關鍵詞 | 雜劇; 組劇; 美感型態; 畸美; 和美; Tsa-chü; Tsu-chü; Drama set; Aesthetic style; Malformed beauty; Harmonic beauty; |
中文摘要 | 「組劇」是雜劇發展至明代中期以後新出現的一種特殊合集形式,由數本劇作組成而冠以一個總名。個別劇作既各自獨立完整,彼此間又於取材、內容或主題上有所關聯,以之貫串為一整體。本文以明代組劇的「美感型態」為論題,探討劇作家對於作品美感表現的構思安排,從而掌握其觀照摹寫對象的態度與方式。明代組劇的美感型態分為「畸美」與「和美」兩類。「畸美」追求奇異獨特,涵括新奇、荒誕、滑稽等美感範疇,而以荒誕為核心的新奇、滑稽則是「畸美」中的主要類型,為明代組劇憤世之作所表現的的美感型態。「和美」講求平和諧調,涵括典雅、中和、含蓄等美感範疇,為明代組劇閒賞之作所表現的美感型態。「畸美」與「和美」這兩種組劇美感型態,顯示了劇作家觀照摹寫對象的不同態度與表現方式,也構成了不同的美感效果。在「畸美」之作中,劇作家透過變形、誇張、乖訛、符號化等手法,或狂放縱恣,或嘻笑喧鬧,展現其觀照社會人生的荒誕意識。而在「和美」之作中,劇作家則運用典麗的語言、對古典的融鑄、情景相生交融的手法,形成作品平和雍容的格調,其對社會人生的觀照顯現出文人傳統博雅內斂的文化涵養。 |
英文摘要 | “Tsu-chü” (drama set) is a new form of drama creation which is developed in the middle of the Ming Dynasty. “Tsu-chü” is a collection of “Tsa-chü”, combining several different plays with the same title. Each play in the tsu-chü is independent and completed; on the other hand, different plays in the tsu-chü are combined as a whole because of their related material, content or theme. By looking into the aesthetic styles of tsu-chü in the Ming Dynasty, this article discusses how playwrights structure the aesthetic performance of their works, then acknowledges how they observe and depict their objects. The aesthetic style of tsu-chü in the Ming Dynasty is divided in to “malformed beauty” and “harmonic beauty”. “Malformed beauty” includes the characteristics of novelty, absurdity and buffoonery. However, the major form of “malformed beauty” is novelty and buffoonery that uses absurdity as the core. “Harmonic beauty”, on the other hand, covers the aspects of elegance, balance and implication. “Malformed beauty” and “harmonic beauty” indicate how the playwrights observe and depict their objects with different attitudes and approaches. Hence, this style constructs another kind of aesthetic effect. In the works of “malformed beauty”, playwrights use the techniques of deformation, exaggeration, inharmonic contrast and symbolism to set up the atmosphere of extravagancy or burlesque in order to show the absurd life and society they observe. However, in the works of “harmonic beauty”, playwrights apply techniques like elegant language, combining classics and blending of feeling and scene so the works present a harmonic, composed and dignified style to express the liberator’s traditional refined culture. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。