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用戏曲的形式表现杜甫及杜诗,是随着真正戏曲的出现而出现的,虽然有关杜甫的曲目非常少。无论是从题材还是学习杜诗的角度上讲,元散曲与杂剧所选择的杜诗学切入点是一致的:即关注杜诗的诗艺高超,表现手法的新颖,而很少关注杜诗的思想内涵;元代人们心目中的杜甫形象与两宋时期人们心目中的杜甫形象也不同,杜甫更多地被表现为一个清贫、高古、高蹈出尘的隐士。由于杂剧与散曲的通俗性,为大众所喜闻乐见,这既普及了杜诗,扩大了杜诗的传播与影响,也为人们全方位地审视杜甫及其诗歌提供了经验。
The performance of Du Fu and Du Fu in the form of opera appeared with the appearance of the real opera, though there were very few tracks about Du Fu. Whether it is from the perspective of the subject or the study of Du Fu, Yuan Sanqu and Du Fu’s poetic poetic entry point are consistent: that is, paying attention to Du Poem’s superb poetic art, novel performance techniques, while paying little attention to the connotation of Du Fu’s poem The image of Du Fu in the Yuan dynasty was also different from that of Du Fu in the two Song dynasties. Du Fu was more often manifested as a recluse of poverty, high age and high dignity. Due to the popularity of drama and Sanqu, it is loved and loved by the general public. It not only popularized Du Fu and expanded the spread and influence of Du Fu, but also provided people with comprehensive experience of Du Fu and his poetry.