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“才子佳人型”故事模式备受中国民众青睐,在戏曲中表现尤为突出,“才子佳人剧”层出不穷。在这类戏曲创作中,我们又可以清晰看到文人创作与民间创造两条脉络。文人们在案头上塑造着神仙美眷,而地方民众们也在民间戏曲中创造着他们眼里的才子佳人。有趣的是,尽管民间对文人经典刻意模仿,但由于环境和思想的差异,民间戏曲中的才子佳人产生了很大变异,突显出更多的民间俚俗粗放气息和地域民俗色彩。作为戏曲文化研究的一次尝试,本文拟以闽南传统戏文《陈三五娘》为例,与代表着中国才子佳人戏巅峰的元曲《西厢记》进行系统比较,从剧目流变、人物塑造、主题观念等几个方面分析闽南文化对才子佳人进行的改造,并深入分析这种经典模仿背后反映的深层文化根源。
“Genius and beauty type” story mode favored by the Chinese people, the performance is particularly prominent in the opera, “Talented Lady Drama ” after another. In this kind of opera creation, we can also clearly see the two contexts of literati creation and folk creation. Literary people in the desk shape the fairy family, and local people are also in the folk drama to create their eyes genius and beauty. Interestingly, despite the deliberate imitation of the literati classic by the folk, due to the differences in environment and ideology, the genius and beauty of folk operas have greatly changed, highlighting more folk vulgarity and regional folk customs. As an attempt to study opera culture, this article attempts to take the traditional Taiwanese opera “San San Niang” as an example to systematically compare with “The Romance of the West Chamber”, a famous song about the genius of Chinese genius, from the drama, the characterization, the theme Concept and other aspects of Taiwanese culture analysis of the transformation of genius and beauty, and in-depth analysis of this classic imitation reflects the underlying cultural roots.