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在《牡丹亭》中,一直交织着两种似乎截然不同的旋律——喜剧的旋律和悲剧的旋律。相对而言,学术界对于其悲剧性内容更为重视,认为“悲”是戏曲的内在精神,是其思想意蕴深刻之所在;而喜剧性内容不过是为了营造热闹氛围、吸引观众的打趣逗乐,是表面现象。对喜剧性内容的重视不够是《牡丹亭》研究中的薄弱环节。本文借鉴巴赫金的狂欢化诗学理论对《牡丹亭》的喜剧性内容进行了细致深入的探讨,认为其中洋溢着伟大的狂欢精神,既有对生命激情的歌吟、对自然性爱的张扬,又有对封建礼教和专制势力的辛辣嘲讽和消解。
In “The Peony Pavilion”, there are always two interwoven melodies that seem to be totally different - the melody of the comedy and the melody of the tragedy. Relatively speaking, academia pay more attention to its tragic content, and think that “sadness” is the intrinsic spirit of opera, which is the profound meaning of the thought. However, the comic content is just to create a lively atmosphere and attract the audience’s jest Amused, is the surface phenomenon. The lack of attention to the comic content is the weak link in the study of Peony Pavilion. This article draws on Bakhtin’s carnivalesque poetics theory to make a detailed and in-depth discussion of the comedy content of “The Peony Pavilion”, which holds that there is a great orgiastic spirit filled with both the song of passion for life, the publicity of natural sex, There are spicy sarcasm and digestion of feudal ethics and autocratic forces.