| | | | | 从元杂剧之“梦”到汤剧之“梦”——论古典戏曲中“梦”之表现力的增强 | | | 薛海燕 | | | 中国古典戏曲经常描写“梦”。“梦”在戏曲中主要有如下作用:第一,其作为特殊精神状态的特点在作品中成为独立的审美因素;第二,“梦”的设置在剧情结构中占有重要地位。只有到汤(显祖)剧之“梦”,上述两种作用才结合起来,从而使梦与现实两种状态的对比成为作品内蕴的核心内容,深化了作品反思现实的哲理意义。这不仅引导研究者关注古典戏曲的丰富表现手段,而且可以启发我们思考有关梦与文学的价值问题。
【作者单位】：青岛海洋大学中文学院 山东青岛266071
【关键词】：元杂剧之“梦”;汤剧之“梦”;表现力
【分类号】：I207.3
【DOI】：cnki:ISSN:1006-2929.0.2002-01-016
【正文快照】：
《说文解字》释“梦”日:“梦,不明也。”清代段玉和“不明”,那么出现突破现实规范和逻辑的超常信裁注云:“以其字从夕,故训释为乱。梦之本义为不息当然不足怪;而能否表现出怀疑现实、反思现实的明。”“乱”和“不明”都指无秩序、无规范。这种语义意识倾向,通常又是判断作品 | | | | | |  推荐 下载CAJ全文  下载PDF全文 | | | CAJViewer7.0阅读器支持所有CNKI文件格式，AdobeReader仅支持PDF格式 | | | | From the Dreams in Yuanqu to that in Tang Xianzu's Dramas | | | XUE Hai-yan(Chinese Language & Culture College;Ocean University of Qingdao;Qingdao 266071;China) | | | A lot of Chinese ancient dramas talk about dreams. Dreams in those dramas played two kinds of roles: The first one was their special character served audience in aesthetic way, the other was holding main positions in drama's structure . Those two contracted the first time with each other in Tang XianZu' s dramas, which made the difference between dream and the reality became the initial things that the drama expressed, and at last deepened the dramas.
【Keyword】：dreams in Yuanqu;dreams in Tang Xianzu' s dramas;ability on expression |
|
|