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中国神庙剧场的发展历经了宋金元、明、清几个时期,期间不断走向完备。每个历史时期的戏台形制、特点以及称谓不一而同。前两者学界已不乏讨论,然而关于神庙戏台称谓这一命题的研究,尚未见专门论述。对神庙戏台称谓进行“统计”研究,可以清晰勾勒出不同时期神庙戏台称谓之变化及其背后反映的文化现象,尤其明确“礼乐”文化对神庙剧场的深刻影响以及由称谓“雅俗”变化带来的戏曲观念的改变。神庙戏台称谓不仅体现着戏曲艺术发展的演变轨迹,亦是当时整个社会思潮的缩影。
The development of the Chinese temple theater has gone through several periods of Song, Jin and Yuan Dynasties, Ming and Qing Dynasties, during which the theater continued to be well-formed. Each historic stage of the stage shape, characteristics and appellations vary. The former two scholars have no shortage of discussion, but on the Temple stage title this proposition has not been specifically discussed. The “statistic” study of the temple stage title can clearly outline the changes in the temple stage titles and cultural phenomena reflected in different periods, especially the profound influence of “courtesy” culture on the temple theater as well as The change of concept of drama brought by the change of title “elegant and vulgar ”. Temple stage title not only reflects the evolution of opera art, but also the microcosm of the entire social trend of thought.