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戏曲演进史三:金元明北曲杂剧(上)

作者：曾永义（1941—2022）

出版社：九州出版社出版时间：2023-09-01

开本： 16开 页数： 516

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戏曲演进史三:金元明北曲杂剧(上) 版权信息

ISBN：9787522517773
条形码：9787522517773 ; 978-7-5225-1777-3
装帧：精装
册数：暂无
重量：暂无
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中国文化

戏曲演进史三:金元明北曲杂剧(上) 内容简介

《戏曲演进史》是曾永义教授以剧种的演进为骨架，参照诸多文献资料与底本，编成的鸿篇巨制，全面阐述了中国戏曲的演进过程，被认为“完善了一代之学的内涵和外延”，是该领域的标志性著作。本书为《戏曲演进史》的“金元明北曲杂剧编”之前十三章。各章具体内容依次为：**章“北曲杂剧之渊源、性成果与分期”、第二章“蒙元北曲杂剧之背景”、第三章“元代北曲杂剧之剧目、题材与内容”、第四章“蒙元北曲杂剧流布之六大中心及其作家作品简述”、第五章“北曲杂剧之理论述评：从元代到明初”、第六章“蒙元北曲杂剧之艺术成分与搬演过程”、第七章“所谓‘元曲四大家’”、第八章“关汉卿研究及其展望”、第九章“关汉卿杂剧述评”、第十章“马致远杂剧述评”、第十一章“白朴、郑光祖杂剧述评”、第十二章“乔吉及其他作家述评”、第十三章“今本《西厢记》综论”。

戏曲演进史三:金元明北曲杂剧(上) 目录

丁金元明北曲杂剧编序说·····················································································3 **章北曲杂剧之渊源、形成与分期 ··········································6 引言 ··················································································· 6 一、小戏群源生期“金院本” ····················································· 12 二、小戏发展转型过渡大戏期“金院么” ······································ 16 三、大戏形成始兴期“金蒙么末” ··············································· 24 四、北方大戏大盛期“蒙元么末与元杂剧” ··································· 26 五、大戏南北全盛期“元杂剧” ·················································· 29 六、大戏衰落期“元杂剧” ························································ 33 七、大戏余势期“明初北曲杂剧” ··············································· 36 结语 ·················································································· 38 第二章蒙元北曲杂剧之背景 ···················································· 41 一、蒙元之政治社会 ································································ 41 二、蒙元文人之遭遇 ································································ 48 三、蒙元之艺文理论与曲词之特质·············································· 51 四、蒙元之宗教、交通、商业与杂剧之兴盛·································· 72 第三章元代北曲杂剧之剧目、题材与内容 ·································· 76 一、剧目著录 ········································································· 76 二、题材类型 ········································································· 77 三、内容特色 ········································································· 85 四、语言运用：从戏曲语言说到北剧语言····································· 90 第四章蒙元北曲杂剧流布之六大中心及其作家作品简述 ···············102 引言 ················································································ 102 一、中州杂剧之作家与作品 ····················································· 102 二、大都杂剧之作家与作品 ····················································· 104 三、真定杂剧之作家与作品 ····················································· 109 四、平阳杂剧之作家与作品 ······················································117 五、东平杂剧之作家与作品 ····················································· 128 六、杭州杂剧之作家与作品 ····················································· 132 结语 ················································································ 142 第五章北曲杂剧之理论述评：从元代到明初 ······························144 引言 ················································································ 144 一、胡祗遹等之“零金片语” ··················································· 145 二、芝庵《唱论》 ·································································· 149 三、周德清《中原音韵》 ························································· 155 四、钟嗣成《录鬼簿》与贾仲明《录鬼簿续编》 ··························· 166 五、夏庭芝《青楼集》 ···························································· 182 六、明人《太和正音谱》之作者问题及其曲论····························· 191 结语 ·················································································211 第六章蒙元北曲杂剧之艺术成分与搬演过程 ······························213 引言 ················································································ 213 一、北曲杂剧外在结构“体制规律”之渊源与形成······················· 213 二、北曲杂剧的剧场与剧团 ····················································· 220 三、北曲杂剧之穿关与妆扮 ····················································· 237 四、元代北曲杂剧之乐曲、乐器与科白······································ 253 五、元代北曲杂剧内在结构“排场”之概念与举例······················· 271 六、元代北曲杂剧搬演前后及其过程········································· 279 结语 ················································································ 297

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戏曲演进史三:金元明北曲杂剧(上) 作者简介

曾永义（1941—2022），台湾台南县人。台湾大学文学博士，“中研院院士”。长年从事戏曲、俗文学、韵文学、民俗艺术的维护发扬与教学研究工作。曾在哈佛大学燕京学社、斯坦福大学、香港大学、北京大学、中国戏曲学院等知名学府客座讲学或访问合作。出版《戏曲学》《戏曲剧种演进史考述》《戏曲演进史》等戏曲研究类学术著作20 余部，创作戏曲剧本22 种。被誉为当代戏曲研究的“中流砥柱”，其《戏曲演进史》被认为“完善了一代之学的内涵和外延”，是该领域的标志性著作。

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