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李渔的剧作和编剧理论历来为学界所重视。上世纪90年代就有学者认识到了“非奇不传”“非新不传”的戏剧观是李渔戏曲理论的核心,对其戏曲理论尤其是编剧技巧的研究屡有所见。本文立足于李渔编剧技巧的新奇性特征,结合《笠翁传奇十种》加以解读。李渔在借鉴前人编剧技巧的基础上充分考虑观众的欣赏习惯并加以锐意创新,剧作新奇巧妙而又合乎情理,对我们今天的戏剧创作有很高的学习借鉴价值。
Li Yu’s playwriting and screenwriting theory has always been valued by the academic community. In the 1990s, some scholars realized that the view of drama “non-odd non-novel” “non-new biography” is the core of Li Yu’s opera theory, which has often seen the study of its opera theory, especially the screenwriting skill. Based on the novelty features of Li Yu’s screenplay skills, this essay will be interpreted in light of the ten kinds of Legend of Weng Weng. Li Yu draws on the former screenwriter skills based on the full consideration of the audience’s appreciation habits and to be determined and innovative, play novelty clever and reasonable, for today’s drama creation has a high learning value.