论文部分内容阅读
从元明杂剧(以《朱太守风雪渔樵记》为代表) 到明清传奇(以《烂柯山》为代表)、再到现代话剧 (以东北作家安犀的三幕历史广播剧《朱买臣》为代表),朱买臣“休妻”的故事一直在民间和知识分子话语中流传、翻演;在地方戏曲界更是如此, 京剧(以汪笑侬编排的《马前泼水》为代表)、昆曲 (以王季烈手稿本《烂柯山》为代表)、东北二人转 (以1981年吉林省地方戏曲研究室编的拉场戏《马前泼水》为代表)以及河南坠子、山东吕剧等,虽然, 故事的内容、情节都有增删,但都以各自的方式在演绎着同一故事。例如在人物塑造上,朱买臣始终无多大变化(安犀的《朱买臣》除外);崔氏在《汉书·
From the Ming and Qing dynasties (represented by “Zhu Taishou Feng Xue Yu Qiao Ji”) to the Ming and Qing dynasties (represented by “Luke Ke Mountain”) and modern drama The story of Zhu Mai-chen’s “divorcing his wife” has been circulating in folk and intellectual discourse, turning it on; especially in the local opera circles, the Peking Opera (represented by “Ma Qianshui Shui” arranged by Wang Xiao Nong) ), Kunqu Opera (represented by Wang Jielie’s manuscript “Lanshan Mountain”) and the duo of Northeast China (represented by the “Ma Qianshui Shui” drawn from the drama “Ma Qianshui” compiled by the Jilin Provincial Department of Local Opera in 1981) Although, the content of the story, there are additions and deletions plot, but in their own way in the interpretation of the same story. For example, in terms of characterization, Zhu Maochen has not changed much (except for the “Zhu Maochen”); Cui’s "Han