學術產出-學位論文
文章檢視/開啟
書目匯出
-
題名 清初蘇州崑劇劇壇研究
Research on the Circle of Suzhou Kunqu Opera in Early Qing Period作者 盧柏勳
Lu, Po-Hsun貢獻者 曾永義<br>羅麗容
Zeng, Yong-Yi<br>Luo, Li-Rong
盧柏勳
Lu, Po-Hsun關鍵詞 清代戲曲
蘇州劇壇
蘇州曲家
崑劇
崑曲
崑山腔
戲曲理論
戲曲史
李玉
朱素臣
朱佐朝
張大復
Chinese opera of Qing Dynasty
Chinese opera circle of Suzhou
Suzhou composer
Kunqu Opera
Kunqu
Kunshan tone
theory of Chinese opera
history of Chinese opera
Yu Lee
Su-chen Chu
Tso-Chao Chu
Da-Fu Chang日期 2019 摘要 清初是相當關鍵的過渡時期，崑劇藝術歷經晚明與明末之發展滋長，至此時已呈現鼎盛之態勢。而蘇州始終是崑劇藝術發展之核心重鎮，這地匯聚大批的崑劇作家、曲律家、表演藝術家，因此別具研究的價值與意義。本論文延續以往對晚明蘇州戲曲的研究經驗，以劇壇研究之宏觀視角進行研究，包括靜態的劇作家與理論、劇作、相關文學作品；以及動態的優伶、劇團、職業班社、家樂戲班等各種與場上演出相關的項目。以此來重新探究清初蘇州崑劇劇壇在戲曲史上的意義與定位。茲將本論文各章節大綱略述於後： 第一章〈清初蘇州劇壇之聲腔與劇種探究〉：考察清初蘇州各聲腔與劇種之發展概況，再緊扣論文主題，將論述焦點集中在崑山腔之上。經過探究，可發現清初蘇州所盛行者，大部份以聲腔為主。腔調劇種方面，則以崑劇最為風行，此外則多為民間小戲，如灘簧或花鼓之類，尚未臻於成熟之境。 第二章〈清初蘇州崑劇劇壇之作家及作品考察〉：針對活躍於清初蘇州崑劇劇壇之代表性作家，及其重要劇作進行探討，並歸結出清初蘇州作家群與劇作之成就與影響，為戲曲史及前輩學者補充論述。考察蘇州作家群的劇作存佚，逐一為十四位曲家繪製專屬的「劇作著錄與存佚表」與「清初蘇州作家群存世劇作簡介表」，進一步舉例證分析重要劇作之文學造詣、主題思想等問題。若論及清初蘇州作家群及其劇作在戲曲史上所取得的成就與影響，則可區分為三項：其一，案頭場上並重—講求兩擅其美；其二，反思歷史興亡—以劇寫史特徵；其三，開創時事新題—寫實觀照人生。 第三章〈清初蘇州作家群之交遊互動探究〉：觀照之主題有三：其一，論蘇州作家群之群體內部交遊；其二，論蘇州崑劇作家群之群體外部交遊；其三，論整體交遊互動對於清初蘇州崑劇劇壇產生的影響，及其貢獻與意義。經由探討可歸結出三項交遊之下，反映出的貢獻與意義：其一，劇本數量之多產；其二，聲律概念之建立；其三，場上演出之推展。由於清初蘇州作家群多數為職業劇作家，彼此間又經常互動往來切磋曲藝，故而形成一個創作群體。他們合作增益劇本，不僅維繫共同的創作意識，也促進清初蘇州崑劇劇壇發展蓬勃。與沈自晉、紐少雅、馮夢龍等人頻繁緊密的交遊過程中，建立起李玉等蘇州作家群之聲律概念，同時影響他們製譜的態度及規範。與清初蘇州作家群往來者，多為名流士大夫，或者家班主人、梨園子弟，故而交遊便作為一種媒介，使劇作能夠在反覆演出後，不斷修正完善，並達到流傳廣佈之效果；優伶亦可在一次次演出中，鍛鍊、提升場上技藝。 第四章〈清初蘇州崑劇劇壇之戲曲理論建構〉：針對清初蘇州崑劇劇壇進行三項主題研究，分別為：其一，文律雙美說之發展與延續考察；其二，北曲譜與南曲譜之沿革探究；其三，清初蘇州崑劇劇壇藝術創作論探析。清初蘇州之文律雙美理論獲得階段性之總結，劇作曲文及賓白之語言，採取雅俗並陳、巧妙融通的方式，以回應普羅大眾之觀劇需求，既維繫基本的文學修飾，又能顧及通俗化的場上效果。在北曲譜與南曲譜之沿革探究方面，《北詞廣正譜》之曲學貢獻，在於重建清初蘇州之北曲格律，該譜雖對其後北曲譜之編纂影響甚鉅，然而亦存在著三項缺失。《寒山堂曲譜》對於清初蘇州之聲律制定及演唱貢獻良多，同時也有過度講求簡明實用，而刪削過度之弊病。在清初蘇州崑劇劇壇藝術創作論方面，本章則區分為曲文賓白論、本事思想論、關目情節論、排場結構論四個項目進行探究。 第五章〈論清初蘇州崑劇劇壇之職業戲班及其優伶〉：主要關注之問題，集中於清初蘇州崑劇劇壇之職業戲班與優伶之上，經過探討可知入清之後，民間職業戲班之盛行，與私人家班衰弱，其實有密切關連。蘇州自來是名伶薈萃之地，清初蘇州崑劇劇壇之重要優伶，就類型而言，可大致區分為演員、曲藝家、串客三型。清初蘇州優伶之貢獻主要有三，其一，促進崑劇藝術傳播；其二，融入日常生活文化；其三，有助劇本流傳通行。 第六章〈論清初蘇州崑劇劇壇之家樂戲班與民間演劇活動〉：此處主要探討兩大問題，其一，清初蘇州崑劇劇壇之家樂戲班；其二，清初蘇州崑劇劇壇之各項演劇活動。細按清初蘇州崑劇劇壇家樂戲班之類型，大致有三類：其一，仕宦貴族型；其二，縉紳文人型；其三，家族傳承型。考察蘇州官方演劇與文人曲集之情況，可知官署內演劇在清初，可謂相當普遍。而文人在結社活動之宴集中，所點之劇目，則深刻地反映文人特定的心態與思想，藉此一方面緬懷故國，二方面彰顯忠義氣節。至於清初蘇州崑劇劇壇民俗節慶之演劇活動，則可區分為「迎神賽社演劇」與「節令慶典演劇」兩條線索。
Early Qing period is an extremely critical time of transition. After the development of late Ming period, Kunqu Opera became flourishing at the time. Suzhou has always been the important base of development of Kunqu Opera. Great number of Kunqu Opera playwrights, composers and artists gathered in the place. Thus, it shows research value and significance. Based on past research on Suzhou Chinese opera in late Ming period, this study adopts the broad perspective of Chinese opera circle research, including static playwrights and theories, plays and related literary work as well as dynamic parts related to the performance such as actors, troupes, professional Chinese opera companies and private troupes. Thus, this study reviews the significance and position of the circle of Suzhou Kunqu Opera in early Qing period in the history of Chinese opera. Outline of the chapters in this study is shown in the following: Chapter 1 “Study on Tone and Types of Suzhou Chinese Opera Circle in Early Qing Period”: it explores the general development of various tones and types of Chinese opera of Suzhou in early Qing period. Based on the topic, it focuses on Kunshan tone. After the exploration, it shows that the tones were mostly popular in Suzhou of early Qing period. As to the type of Chinese opera, Kunqu Opera was the most prevailing at the time. The rest were folk dramas, such as Tan Huang or Hua Gu, which were not mature. Chapter 2 “Study of Playwrights and Work in the Circle of Suzhou Kunqu Opera in Early Qing Period”. This study explores the representative playwrights and important plays in the circle of Suzhou Kunqu Opera in early Qing period and generalizes the achievement and influence of Suzhou playwrights and plays in early Qing period as the complementary arguments of history of Chinese opera and the previous scholars. It investigates the presence of Suzhou playwrights’ work and designs “list of plays and table of presence” and “introduction of remained plays of Suzhou playwrights in early Qing period” for 14 composers and analyzes the literary content and thematic thoughts of important plays by examples. Achievement and influence of Suzhou playwrights and plays in early Qing period in history of Chinese opera are classified below: first, equal importance in writing: fulfillment of both sides; second, reflection of history: history writing by plays; third, creation of new topics of the time: realistic writing of life. Chapter 3 “Study of Interaction Among Suzhou Playwrights in Early Qing Period”: first, it elaborates the internal interaction among Suzhou playwrights; second, it explores external interaction among Suzhou Kunqu Opera playwrights; third, it explores the effect of overall interaction and exchange on the circle of Suzhou Kunqu Opera in early Qing period, the contribution and the significance. This study thus generalizes the following contribution and significance: first, productive number of plays; second, construction of melody concept; third, promotion of performance on the stage. Since Suzhou playwrights in early Qing period were mostly the professional ones and they frequently interacted with each other, they became a group of creation. They cooperated with each other to create the plays. It not only maintained collaborative creation consciousness, but also reinforced the development of the circle of Suzhou Kunqu Opera in early Qing period. By frequent interaction with Tzu-chin Shen, Shao-Ya Niu, Meng-long Feng et al., melody concept of Suzhou playwrights such as Yu Lee was constructed and it influenced their attitude and rules of composition. Those who interacted with Suzhou playwrights in early Qing period were mostly celebrities, literati or hosts of troupes and the descendants of the circle. Thus, the interaction became the medium and after repetitive performance, the plays could be constantly improved in order to be spread; the actors’ skills could be strengthened in the performances. Chapter 4 “Theoretical Construction of Chinese Opera in the Circle of Suzhou Kunqu Opera in Early Qing Period”. It conducts three thematic research on the circle of Suzhou Kunqu Opera in early Qing period: first, development of refined writing and melody and continuous investigation; second, study of evolution of northern and southern musical composition; third, study of creation theory of Suzhou Kunqu Opera circle in early Qing period. Theory of refined writing and melody of Suzhou in early Qing period is concluded of the stage. Writing of the play and language of the dialogues are both classical and colloquial in order to meet the demand of the general public. It maintains basic literary polishing and popular effect on the stage. As to the study of evolution of northern and southern musical composition, contribution of Standard Notations of Northern Arias was to reconstruct the meter of northern arias of Suzhou in early Qing period. Although the notation significantly influenced the composition of the following northern ones, there are still three deficiencies. Han Shan Tang Arias considerably contributed to meter construction and singing of Suzhou in early Qing period. However, it emphasized the simplicity and practicability and the content might be overly reduced. As to the creation theory of Suzhou Kunqu Opera circle in early Qing period, in this chapter, it is classified into four dimensions: dialogue of writing, thoughts, plots and structure of performance. Chapter 5 “Study of Professional Troupes and the Actors in Suzhou Kunqu Opera Circle of Early Qing Period”. It focuses on professional troupes and actors in Suzhou Kunqu Opera circle of early Qing period. After the exploration, it shows that in Qing Dynasty, prevalence of private professional troupes was associated with the declination of private companies. Suzhou gathered renowned actors and in early Qing period, important actors in Suzhou Kunqu Opera circle can be classified into three types: actors, singing experts and amateurs. In early Qing period, the main contributions of Suzhou actors are below. First, they enhanced the spread of Kunqu Opera; second, they were engaged in daily life culture; third, they enhanced the prevalence of the plays. Chapter 6 “Study of Private Companies and Private Dramas in Suzhou Kunqu Opera Circle of Early Qing Period”. It mainly explores two issues. First, private companies of Suzhou Kunqu Opera circle in early Qing period; second, various dramas in Suzhou Kunqu Opera circle of early Qing period. There are three types of private companies of Suzhou Kunqu Opera circle in early Qing period: first, officials and nobles; second, scholars; third, family. This study investigates official dramas and the literati’s arias of Suzhou and shows that official dramas were prevailing in early Qing period. The types of plays selected by the literati in the group activities significantly reflected their attitude and thoughts. They recalled the ancient history and reveals their loyalty and righteousness. Dramas of folk festivals of Suzhou Kunqu Opera circle in early Qing period can be divided into “dramas of idolatrous processions” and “dramas of seasonal festivals”.描述 博士
國立政治大學
中國文學系
102151507資料來源 http://thesis.lib.nccu.edu.tw/record/#G0102151507 資料類型 thesis dc.contributor.advisor 曾永義<br>羅麗容 zh_TW dc.contributor.advisor Zeng, Yong-Yi<br>Luo, Li-Rong en_US dc.contributor.author (作者) 盧柏勳 zh_TW dc.contributor.author (作者) Lu, Po-Hsun en_US dc.creator (作者) 盧柏勳 zh_TW dc.creator (作者) Lu, Po-Hsun en_US dc.date (日期) 2019 en_US dc.identifier (其他 識別碼) G0102151507 en_US dc.description (描述) 博士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 中國文學系 zh_TW dc.description (描述) 102151507 zh_TW dc.description.abstract (摘要) 清初是相當關鍵的過渡時期，崑劇藝術歷經晚明與明末之發展滋長，至此時已呈現鼎盛之態勢。而蘇州始終是崑劇藝術發展之核心重鎮，這地匯聚大批的崑劇作家、曲律家、表演藝術家，因此別具研究的價值與意義。本論文延續以往對晚明蘇州戲曲的研究經驗，以劇壇研究之宏觀視角進行研究，包括靜態的劇作家與理論、劇作、相關文學作品；以及動態的優伶、劇團、職業班社、家樂戲班等各種與場上演出相關的項目。以此來重新探究清初蘇州崑劇劇壇在戲曲史上的意義與定位。茲將本論文各章節大綱略述於後： 第一章〈清初蘇州劇壇之聲腔與劇種探究〉：考察清初蘇州各聲腔與劇種之發展概況，再緊扣論文主題，將論述焦點集中在崑山腔之上。經過探究，可發現清初蘇州所盛行者，大部份以聲腔為主。腔調劇種方面，則以崑劇最為風行，此外則多為民間小戲，如灘簧或花鼓之類，尚未臻於成熟之境。 第二章〈清初蘇州崑劇劇壇之作家及作品考察〉：針對活躍於清初蘇州崑劇劇壇之代表性作家，及其重要劇作進行探討，並歸結出清初蘇州作家群與劇作之成就與影響，為戲曲史及前輩學者補充論述。考察蘇州作家群的劇作存佚，逐一為十四位曲家繪製專屬的「劇作著錄與存佚表」與「清初蘇州作家群存世劇作簡介表」，進一步舉例證分析重要劇作之文學造詣、主題思想等問題。若論及清初蘇州作家群及其劇作在戲曲史上所取得的成就與影響，則可區分為三項：其一，案頭場上並重—講求兩擅其美；其二，反思歷史興亡—以劇寫史特徵；其三，開創時事新題—寫實觀照人生。 第三章〈清初蘇州作家群之交遊互動探究〉：觀照之主題有三：其一，論蘇州作家群之群體內部交遊；其二，論蘇州崑劇作家群之群體外部交遊；其三，論整體交遊互動對於清初蘇州崑劇劇壇產生的影響，及其貢獻與意義。經由探討可歸結出三項交遊之下，反映出的貢獻與意義：其一，劇本數量之多產；其二，聲律概念之建立；其三，場上演出之推展。由於清初蘇州作家群多數為職業劇作家，彼此間又經常互動往來切磋曲藝，故而形成一個創作群體。他們合作增益劇本，不僅維繫共同的創作意識，也促進清初蘇州崑劇劇壇發展蓬勃。與沈自晉、紐少雅、馮夢龍等人頻繁緊密的交遊過程中，建立起李玉等蘇州作家群之聲律概念，同時影響他們製譜的態度及規範。與清初蘇州作家群往來者，多為名流士大夫，或者家班主人、梨園子弟，故而交遊便作為一種媒介，使劇作能夠在反覆演出後，不斷修正完善，並達到流傳廣佈之效果；優伶亦可在一次次演出中，鍛鍊、提升場上技藝。 第四章〈清初蘇州崑劇劇壇之戲曲理論建構〉：針對清初蘇州崑劇劇壇進行三項主題研究，分別為：其一，文律雙美說之發展與延續考察；其二，北曲譜與南曲譜之沿革探究；其三，清初蘇州崑劇劇壇藝術創作論探析。清初蘇州之文律雙美理論獲得階段性之總結，劇作曲文及賓白之語言，採取雅俗並陳、巧妙融通的方式，以回應普羅大眾之觀劇需求，既維繫基本的文學修飾，又能顧及通俗化的場上效果。在北曲譜與南曲譜之沿革探究方面，《北詞廣正譜》之曲學貢獻，在於重建清初蘇州之北曲格律，該譜雖對其後北曲譜之編纂影響甚鉅，然而亦存在著三項缺失。《寒山堂曲譜》對於清初蘇州之聲律制定及演唱貢獻良多，同時也有過度講求簡明實用，而刪削過度之弊病。在清初蘇州崑劇劇壇藝術創作論方面，本章則區分為曲文賓白論、本事思想論、關目情節論、排場結構論四個項目進行探究。 第五章〈論清初蘇州崑劇劇壇之職業戲班及其優伶〉：主要關注之問題，集中於清初蘇州崑劇劇壇之職業戲班與優伶之上，經過探討可知入清之後，民間職業戲班之盛行，與私人家班衰弱，其實有密切關連。蘇州自來是名伶薈萃之地，清初蘇州崑劇劇壇之重要優伶，就類型而言，可大致區分為演員、曲藝家、串客三型。清初蘇州優伶之貢獻主要有三，其一，促進崑劇藝術傳播；其二，融入日常生活文化；其三，有助劇本流傳通行。 第六章〈論清初蘇州崑劇劇壇之家樂戲班與民間演劇活動〉：此處主要探討兩大問題，其一，清初蘇州崑劇劇壇之家樂戲班；其二，清初蘇州崑劇劇壇之各項演劇活動。細按清初蘇州崑劇劇壇家樂戲班之類型，大致有三類：其一，仕宦貴族型；其二，縉紳文人型；其三，家族傳承型。考察蘇州官方演劇與文人曲集之情況，可知官署內演劇在清初，可謂相當普遍。而文人在結社活動之宴集中，所點之劇目，則深刻地反映文人特定的心態與思想，藉此一方面緬懷故國，二方面彰顯忠義氣節。至於清初蘇州崑劇劇壇民俗節慶之演劇活動，則可區分為「迎神賽社演劇」與「節令慶典演劇」兩條線索。 zh_TW dc.description.abstract (摘要) Early Qing period is an extremely critical time of transition. After the development of late Ming period, Kunqu Opera became flourishing at the time. Suzhou has always been the important base of development of Kunqu Opera. Great number of Kunqu Opera playwrights, composers and artists gathered in the place. Thus, it shows research value and significance. Based on past research on Suzhou Chinese opera in late Ming period, this study adopts the broad perspective of Chinese opera circle research, including static playwrights and theories, plays and related literary work as well as dynamic parts related to the performance such as actors, troupes, professional Chinese opera companies and private troupes. Thus, this study reviews the significance and position of the circle of Suzhou Kunqu Opera in early Qing period in the history of Chinese opera. Outline of the chapters in this study is shown in the following: Chapter 1 “Study on Tone and Types of Suzhou Chinese Opera Circle in Early Qing Period”: it explores the general development of various tones and types of Chinese opera of Suzhou in early Qing period. Based on the topic, it focuses on Kunshan tone. After the exploration, it shows that the tones were mostly popular in Suzhou of early Qing period. As to the type of Chinese opera, Kunqu Opera was the most prevailing at the time. The rest were folk dramas, such as Tan Huang or Hua Gu, which were not mature. Chapter 2 “Study of Playwrights and Work in the Circle of Suzhou Kunqu Opera in Early Qing Period”. This study explores the representative playwrights and important plays in the circle of Suzhou Kunqu Opera in early Qing period and generalizes the achievement and influence of Suzhou playwrights and plays in early Qing period as the complementary arguments of history of Chinese opera and the previous scholars. It investigates the presence of Suzhou playwrights’ work and designs “list of plays and table of presence” and “introduction of remained plays of Suzhou playwrights in early Qing period” for 14 composers and analyzes the literary content and thematic thoughts of important plays by examples. Achievement and influence of Suzhou playwrights and plays in early Qing period in history of Chinese opera are classified below: first, equal importance in writing: fulfillment of both sides; second, reflection of history: history writing by plays; third, creation of new topics of the time: realistic writing of life. Chapter 3 “Study of Interaction Among Suzhou Playwrights in Early Qing Period”: first, it elaborates the internal interaction among Suzhou playwrights; second, it explores external interaction among Suzhou Kunqu Opera playwrights; third, it explores the effect of overall interaction and exchange on the circle of Suzhou Kunqu Opera in early Qing period, the contribution and the significance. This study thus generalizes the following contribution and significance: first, productive number of plays; second, construction of melody concept; third, promotion of performance on the stage. Since Suzhou playwrights in early Qing period were mostly the professional ones and they frequently interacted with each other, they became a group of creation. They cooperated with each other to create the plays. It not only maintained collaborative creation consciousness, but also reinforced the development of the circle of Suzhou Kunqu Opera in early Qing period. By frequent interaction with Tzu-chin Shen, Shao-Ya Niu, Meng-long Feng et al., melody concept of Suzhou playwrights such as Yu Lee was constructed and it influenced their attitude and rules of composition. Those who interacted with Suzhou playwrights in early Qing period were mostly celebrities, literati or hosts of troupes and the descendants of the circle. Thus, the interaction became the medium and after repetitive performance, the plays could be constantly improved in order to be spread; the actors’ skills could be strengthened in the performances. Chapter 4 “Theoretical Construction of Chinese Opera in the Circle of Suzhou Kunqu Opera in Early Qing Period”. It conducts three thematic research on the circle of Suzhou Kunqu Opera in early Qing period: first, development of refined writing and melody and continuous investigation; second, study of evolution of northern and southern musical composition; third, study of creation theory of Suzhou Kunqu Opera circle in early Qing period. Theory of refined writing and melody of Suzhou in early Qing period is concluded of the stage. Writing of the play and language of the dialogues are both classical and colloquial in order to meet the demand of the general public. It maintains basic literary polishing and popular effect on the stage. As to the study of evolution of northern and southern musical composition, contribution of Standard Notations of Northern Arias was to reconstruct the meter of northern arias of Suzhou in early Qing period. Although the notation significantly influenced the composition of the following northern ones, there are still three deficiencies. Han Shan Tang Arias considerably contributed to meter construction and singing of Suzhou in early Qing period. However, it emphasized the simplicity and practicability and the content might be overly reduced. As to the creation theory of Suzhou Kunqu Opera circle in early Qing period, in this chapter, it is classified into four dimensions: dialogue of writing, thoughts, plots and structure of performance. Chapter 5 “Study of Professional Troupes and the Actors in Suzhou Kunqu Opera Circle of Early Qing Period”. It focuses on professional troupes and actors in Suzhou Kunqu Opera circle of early Qing period. After the exploration, it shows that in Qing Dynasty, prevalence of private professional troupes was associated with the declination of private companies. Suzhou gathered renowned actors and in early Qing period, important actors in Suzhou Kunqu Opera circle can be classified into three types: actors, singing experts and amateurs. In early Qing period, the main contributions of Suzhou actors are below. First, they enhanced the spread of Kunqu Opera; second, they were engaged in daily life culture; third, they enhanced the prevalence of the plays. Chapter 6 “Study of Private Companies and Private Dramas in Suzhou Kunqu Opera Circle of Early Qing Period”. It mainly explores two issues. First, private companies of Suzhou Kunqu Opera circle in early Qing period; second, various dramas in Suzhou Kunqu Opera circle of early Qing period. There are three types of private companies of Suzhou Kunqu Opera circle in early Qing period: first, officials and nobles; second, scholars; third, family. This study investigates official dramas and the literati’s arias of Suzhou and shows that official dramas were prevailing in early Qing period. The types of plays selected by the literati in the group activities significantly reflected their attitude and thoughts. They recalled the ancient history and reveals their loyalty and righteousness. Dramas of folk festivals of Suzhou Kunqu Opera circle in early Qing period can be divided into “dramas of idolatrous processions” and “dramas of seasonal festivals”. en_US dc.description.tableofcontents 緒論 1 一、研究動機 1 二、前人研究概況 4 三、研究範疇與方法 8 第一章 清初蘇州劇壇之聲腔與劇種探究 25 第一節 清初蘇州之聲腔與劇種 25 一、論晚明至清初聲腔發展脈絡 25 二、論弋陽腔之流佈 28 三、論梆子腔之流佈 31 四、論弦索調之流佈 34 五、論越調之流佈 36 六、論其他劇種之流佈 40 第二節 清初蘇州崑山腔發展考察 44 一、論魏良輔改革以前的崑山腔 44 二、論魏良輔對崑山腔之改良與影響 49 三、論蘇州崑山腔之古調與新聲 56 小結 60 第二章 清初蘇州崑劇劇壇之作家及作品考察 65 第一節 論清初蘇州作家群 65 一、吳縣劇作家 65 二、常熟劇作家 93 三、長洲劇作家 96 第二節 論清初蘇州崑劇壇之作品 101 一、「蘇州作家群」劇作存佚考察 101 二、論重要劇作之文學造詣 108 三、論重要劇作之主題思想 122 第三節 論清初蘇州作家群之成就與影響 133 一、案頭場上並重—講求兩擅其美 133 二、反思歷史興亡—以劇寫史特徵 139 三、開創時事新題—寫實觀照人生 148 小結 156 第三章 清初蘇州作家群之交遊互動探究 161 第一節 清初蘇州作家群之群內交遊 161 一、論劇本之群體創作現象 162 二、論曲譜之協同編訂狀況 165 第二節 清初蘇州作家群之群外交遊 167 一、理論觀念之交流 168 二、曲譜修纂之交流 173 三、劇本編寫之交流 180 第三節 清初蘇州作家群交遊之貢獻與意義 183 一、劇本數量之多產 183 二、聲律概念之建立 185 三、場上演出之推展 190 小結 195 第四章 清初蘇州崑劇劇壇之戲曲理論建構 199 第一節 文律雙美說之發展與延續考察 200 一、論晚明文律雙美理論之發展 201 二、論清初文律雙美理論之延續 208 第二節 北曲譜與南曲譜之沿革探究 220 一、論李玉《北詞廣正譜》之格律體系 220 二、論張彝宣《寒山堂曲譜》之格律體系 237 第三節 清初蘇州崑劇劇壇藝術創作論探析 252 一、曲文賓白論 252 二、本事思想論 257 三、關目情節論 265 四、排場結構論 271 小結 278 第五章 論清初蘇州崑劇劇壇之職業戲班及其優伶 283 第一節 蘇州職業戲班考察 283 一、論民間職業戲班之興起 283 二、論民間職業戲班演出概況 287 第二節 蘇州重要優伶述評 292 一、論清初吳中著名優伶 293 二、論清初蘇州優伶之貢獻 310 小結 318 第六章 論清初蘇州崑劇劇壇之家樂戲班與民間演劇活動 321 第一節 蘇州家樂戲班發展與類型 321 一、論蘇州家樂戲班之發展 321 二、論蘇州代表性家樂戲班 331 第二節 蘇州官方演劇與文人結社 351 一、論蘇州官方演劇 351 二、論蘇州文人結社 358 第三節 蘇州民間節慶之演劇活動 365 一、論蘇州迎神賽社演劇 365 二、論蘇州節令慶典演劇 380 小結 396 結論：清初蘇州崑劇劇壇在戲曲史上的意義與定位 399 一、論清初蘇州崑劇劇壇劇作與理論之貢獻 399 二、論清初蘇州崑劇劇壇表演藝術之影響 403 參考書目 409 附錄 437 一、清初蘇州作家群劇作著錄與存佚表 437 二、清初蘇州作家群存世劇作簡介表 455 三、《竹葉舟》、《清忠譜》出場人數圖 462 四、《竹葉舟》腳色出場次數圖、腳色勞逸比例圖 463 五、《清忠譜》腳色出場次數圖、腳色勞逸比例圖 464 zh_TW dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0102151507 en_US dc.subject (關鍵詞) 清代戲曲 zh_TW dc.subject (關鍵詞) 蘇州劇壇 zh_TW dc.subject (關鍵詞) 蘇州曲家 zh_TW dc.subject (關鍵詞) 崑劇 zh_TW dc.subject (關鍵詞) 崑曲 zh_TW dc.subject (關鍵詞) 崑山腔 zh_TW dc.subject (關鍵詞) 戲曲理論 zh_TW dc.subject (關鍵詞) 戲曲史 zh_TW dc.subject (關鍵詞) 李玉 zh_TW dc.subject (關鍵詞) 朱素臣 zh_TW dc.subject (關鍵詞) 朱佐朝 zh_TW dc.subject (關鍵詞) 張大復 zh_TW dc.subject (關鍵詞) Chinese opera of Qing Dynasty en_US dc.subject (關鍵詞) Chinese opera circle of Suzhou en_US dc.subject (關鍵詞) Suzhou composer en_US dc.subject (關鍵詞) Kunqu Opera en_US dc.subject (關鍵詞) Kunqu en_US dc.subject (關鍵詞) Kunshan tone en_US dc.subject (關鍵詞) theory of Chinese opera en_US dc.subject (關鍵詞) history of Chinese opera en_US dc.subject (關鍵詞) Yu Lee en_US dc.subject (關鍵詞) Su-chen Chu en_US dc.subject (關鍵詞) Tso-Chao Chu en_US dc.subject (關鍵詞) Da-Fu Chang en_US dc.title (題名) 清初蘇州崑劇劇壇研究 zh_TW dc.title (題名) Research on the Circle of Suzhou Kunqu Opera in Early Qing Period en_US dc.type (資料類型) thesis -
