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明清时期的《琵琶记》主要以案头和场上两种形式活跃于不同的受众群体之中。直接的《琵琶记》场上接受材料虽然不多,但从文人的各种笔记、日记以及小说、诗文等著述中,可以管窥到许多相关的《琵琶记》演出资料。此外,在不少留存至今的各类戏曲选本中,后世不仅可以看到场上之《琵琶记》所受的欢迎程度,而且还可以大致体味到这部著名作品的舞台面貌。至于《琵琶记》的案头接受情形,仅从其现知的各种版本就可以约略推测出它的受众群体的概貌及其所受到的欢迎程度。值得注意的是,在明清两代各个受众群体的接受视野中,《琵琶记》已然出现了正解和误解两种不同的接受观念。很多受众虽然错误地解读了这部作品,但不少误解却切实可信地指出了《琵琶记》的真实创作动机。
In the Ming and Qing Dynasties, “Pipa” mainly in the form of both the desk and the field active in different audiences. Although there are not many materials accepted in the direct “Pipa” field, many related “Pipa” performance materials can be grasped from literary notes, diaries, novels, poems and other writings. In addition, many of the various anthologies preserved to this day can not only see the popularity of “Pipa” in the field, but also appreciate the stage of this famous work. As for the acceptance of the case of Pipa, it is possible to roughly approximate the profile of its audience and the degree of welcome it receives from its various versions now known. It is noteworthy that in the reception perspectives of various audiences in the Ming and Qing dynasties, Pipaji already has two different accepted concepts of positive solution and misunderstanding. Although many audiences misinterpret this work, many misunderstandings actually point out the true creative motivation of “Pipa”.