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在万历本《金瓶梅词话》中,《西厢记》主要以演本形态出现。《金瓶梅词话》多次叙及演唱王实甫《西厢记》的情形,仅有一次叙及演唱李日华《南西厢》。根据这些笔墨,我们可以大致了解明嘉靖万历间《西厢记》的演本形态特征:演唱者以戏班及歌伎为主,折子戏多于整本,杂剧多于南戏等。尽管《金瓶梅词话》中所录的《西厢记》多被描述成演本,但大都有文本为依据,在本质上属于文本。这就说明,至迟在明代中后期,戏曲已大量以文本流传,杂剧尤以文本为主要载体。
In Wanli’s Jin Ping Mei Words and Phrases, The West Chamber mainly appears in the mode of performance. “Jin Ping Mei Ci” repeatedly referred to the concert Wang Shih-fu “The Romance of the West Chamber,” the situation, only once referred to singing Li Rihua “Nancy.” Based on these works, we can get a general understanding of the morphological characteristics of “The Romance of the Western Chamber” in the Ming Dynasty. The singers are mainly composed of theatrical troupes and geisha, the surrender play is more than the whole, and the drama is more than the South play. Although many of the “The Romance of the West Chamber” recorded in the Jin Ping Mei Cihua are described as acting books, most of them are based on texts and are essentially texts. This shows that no later than the middle and late Ming Dynasty, opera has been widely circulated in texts, especially the text of the drama as the main carrier.