论文部分内容阅读
一般以为,明代前中期,尤其是自建文至正统之间,演剧处于一种沉寂状态。其实,这一沉寂不在于演剧活动本身,而在于演剧的性质。由于明初制度的谨严,当时的演剧始终局限于以教坊为中心的宴乐环境中,并与一定的宴乐仪式相辅。其中,从宫廷宴仪中发展起来的进盏制度直接影响了当时演剧的形式与内容,首先是北杂剧出现了与元代不同的新特质,并进一步影响了当时戏文的撰作与修订,最终影响了传奇的兴起。
Generally believed that the pre-Ming dynasty, especially from self-built text to orthodox, drama in a state of silence. In fact, this silence is not about the drama itself, but about the nature of the drama. Due to the cautiousness of the system in the early Ming Dynasty, the drama of that time was always confined to the feast environment centered on the square and supplemented by certain banquet rites. Among them, the court system developed from the court banquet directly affected the form and content of the drama at that time. The first was the emergence of new characteristics of Beida Zaju that differed from the Yuan Dynasty, and further influenced the writing and revision of the opera at that time. The final impact on the rise of the legend.