頁籤選單縮合
題名 | 明清家班演玉茗堂劇作探析=An Analysis on Family Troupes' Performance of Plays of the Yuming Hall in the Ming and Qing Dynasties |
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作者 | 廖藤葉; Liao, Teng-yeh; |
期刊 | 國立臺中科技大學通識教育學報 |
出版日期 | 20141200 |
卷期 | 3 2014.12[民103.12] |
頁次 | 頁157-185 |
分類號 | 822 |
語文 | chi |
關鍵詞 | 湯顯祖; 玉茗堂; 家班; 牡丹亭; 邯鄲夢; Tang Xianzu; Yuming Hall; Family troupe; The Peony Pavilion; The Dream of Handan; |
中文摘要 | 湯顯祖劇作《紫釵記》、《牡丹亭》、《邯鄲記》、《南柯記》被稱為玉茗堂四夢,再加上最早期的未完成《紫簫記》則稱五夢。湯氏作品向來膾炙人口,雖有案頭劇不便演出的評語,但在明朝度曲方家按拍改良下強登劇壇,而且熱衷搬演,家班演出對玉茗堂劇作的流傳佔了重要地位。本研究論文先行討論明代曾演玉茗堂劇作的家班和劇目。第二、論敘清代演湯顯祖劇作的家班與劇目。第三、論明、清兩代搬演湯氏劇作的不同傾向,論差異性,以及精研劇作演出對流傳的影響。 |
英文摘要 | Plays of The Purple Hairpin, The Peony Pavilion, The Dream of Handan, and Nanke Ji (Record of Southern Bough) written by Tang Xianzu are collectively called the Four Dreams of Yuming Hall, added with The Purple Flute, Tang's first play which is an uncompleted work, that makes it a total of five plays called the Five Dreams. Tang's works have always enjoyed great popularity. Despite comments on its inappropriate performance, masters of duqu (musical composition) ameliorated closet dramas by means of beating time to make them performed onstage in theatrical circles during the Ming Dynasty and were keen on bān yǎn (reenactment), and the performance of family troupes occupied an important position in plays of the Yuming Hall handed down over generations. This essay starts with a discussion expounds on family troupes' performance of plays of Yuming Hall during the Ming Dynasty and lists of plays. The second discussion in this essay focuses on family troupes' performance of Tang's plays during the Qing Dynasty and lists of plays. The third part focuses on the analysis of different tendencies to the reenactment of Tang's plays and the differences as well as the intensive research in the influence of dramatic work performance handed down in the Ming and Qing dynasties. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。