论文部分内容阅读
沈璟在戏曲上重视声律,重视元人北曲的成就,遵循戏曲自身的艺术规律,援北正南,以北曲规范为南曲指定格律范式,强调合律依腔,重视法古,对南曲进行律化改造,有效地纠正了当时南戏的混乱和泛滥,完成了昆曲曲体的律化。他强调本色,以语言的质古和古雅为特征,把昆山腔搬上舞台,使文人创作的案头之曲变为可以进行舞台演出的场上之曲,对当时戏曲的通俗化、舞台化起到了关键性作用。他与汤显祖相反相成,共同造就了晚明曲坛的繁荣昌盛。
Shen Jing attaches great importance to the soundtracks in the opera, attaches great importance to the achievement of the Yuanren opera, abides by the art rules of the opera itself, assists the north of Zhengnan, The reform of the law of Southern Song Dynasty, effectively corrected the chaos and spread of South opera at that time, and completed the law of Kunqu Opera. He emphasized the true nature, characterized by the quality of the language and the quaintness, and put Kunshan chamber on the stage, turning the desk music of the literary creation into the stage music that can perform the stage performance. To the key role. He and Tang Xianzu opposite phase, jointly created the prosperity of the songstones in the late Ming.