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难诉之情的梦幻形式表现明代以来,《牡丹亭》的批评家们都一致地高度赞赏《牡丹亭》的“奇”。张岱认为《牡丹亭》“灵奇高妙,已到极处”,吕天成也评论《牡丹亭》“巧妙迭出,无境不新”。的确,与汤显祖的其他戏剧比较起来,与中国的其他戏剧比较起来,甚至与国外的戏剧比较起来,《牡丹亭》确是一部奇妙的独一无二的戏剧。然而,若干年来,《牡丹亭》的研究大多停留在对“奇”的重复上,而对于《牡丹亭》到底是一部什么样形式的戏剧和这种形式的戏剧表现
Since the Ming dynasty, critics of “The Peony Pavilion” unanimously highly appreciated the “oddness” of The Peony Pavilion. Zhang Dai believes that “Peony Pavilion” “wonderful and wonderful, has reached the extreme,” Lv Tiancheng also commented “The Peony Pavilion” “clever, one endless”. Indeed, compared with the other plays of Tang Xianzu, compared with the other Chinese plays, Peony Pavilion is indeed a fantastic one-of-a-kind drama, even compared with other foreign plays. However, for many years, most of the researches on The Peony Pavilion stayed on the repetition of the odd, but what kind of drama and the form of the drama were the Peony Pavilion exactly?