| 摘要: | 王驥德與李漁戲曲論著之比較初探
中文摘要
晚明至清初是古典戲曲創作及理論發展的鼎盛時期。王驥德《曲律》和李漁《閒情偶寄》之《詞曲部》與《演習部》，正是這個時期涵括全面並具系統性的兩本戲曲論著，且分別為明清戲曲理論之集大成者。故比較其理論架構及內涵，具有重要的學術意義。一則可釐清兩家理論發展上的關係；二則可補強前賢宏觀式論述所欠缺的細緻分析與比較；三則可尋繹兩家理論異同與戲曲藝術演變歷程的密切關係；四則可重新省思其曲學價值與地位，並為戲曲批評史之研究開拓新的視角。
本論文先梳理王、李二人之前戲曲理論發展既有的成果；繼而依兩人論著共同關注的層面，包括結構、體製規律、詞采、音律、賓白、科諢等，及其各自側重的論述，進行「同中存異、異中求同」的比較。由於比較的研究視角，彼此都是對方的參考座標，避免一律以「王驥德為開創者，李漁為集大成者」，這種順著理論發展進程的「理所當然」印象。而從實際論述內容探求兩人觀點的異同或聯繫，乃發現其具有多重面向及涵義，實非「承繼關係」所能簡單概括。最後就比較結果，探究其原因，釐清兩人論述之間的關係，並回歸理論發展史的長流，更深入而確切地理解其各自的創發，及其共同努力完成建構的理論系統。
關鍵詞：王驥德、李漁、《曲律》、《閒情偶寄》、戲曲理論
;A Comparative Study of Wang Jide and Li Yu′s Works on Operas
Abstract
Late Ming Dynasty and early Qing Dynasty is the flourishing period of classical Chinese opera creation and theory development. Wang Jide’s Melody and the On Poems and Verses and On Performance in Li Yu’s Occasional Notes with Leisure Motions are two comprehensive and systemic works on opera produced in this period. They were the masterpieces of opera theory of the Ming and Qing Dynasties. Therefore, it is of great academic significance to compare their theoretical framework and connotation. First, it helps to clarify the relationship between the development of the two theories; second, it provides detailed analysis and comparison which previous macroscopic elaboration failed to provide; third, it unravels the close relationship between the similarities and differences of the two theories and the evolution process of opera art; fourth, it urges people to rethink their value and status in opera theory, and to develop new perspectives for the research of opera criticism history.
This paper first reviews existing research on opera theory prior to Wang and Li, then compares, under the principle of "seeking differences in similarities and similarities in differences", the common concerns of the two works: structure, system, regulation of word mining, temperament, spoken parts, buffoonery, etc., and focus. Because of the comparative research perspective, they are each other′s frame of reference, and the "taken for granted" impression that "Wang Jide is the pioneer, and Li Yu is the master" can be avoided. To probe the similarities and differences between the two opera theorists from their works helps to reveal that they involve multiple angles and meaning, and not just a simple relationship of "inheritance". Finally, it explores the reasons for the results of comparison, clarifies the relationship between their opinions, and turns to the history of the theoretical development to understand more deeply and accurately their creation and the theory system they constructed together.
Key words: Wang Jide, Li Yu, 《Melody》, 《Occasional Notes with Leisure Motions》, opera theory. |
