欢迎访问《文艺理论研究》，
文艺理论研究

文艺理论研究 ›› 2016, Vol. 36 ›› Issue (1): 157-165.

• 古代文论与古代文学的理论研究 • 上一篇    下一篇

王国维《宋元戏曲史》文体建构述论

徐燕琳
  

  1. 华南农业大学人文学院中文系
  • 出版日期:2016-01-25 发布日期:2017-09-22
  • 作者简介:徐燕琳，文学博士，华南农业大学人文学院中文系教授，华南师范大学岭南文化研究中心研究员。主要研究方向古代文学、戏曲、艺术史论。
  • 基金资助:
    本文为国家社科基金项目“中国古代戏曲文体观念生成嬗变研究”[项目编号：13BZW101]阶段性成果。

On the Stylistic Construction of Wang Guowei's History of Traditional Opera in the Song and Yuan Dynasties

Xu Yanlin   

  1. the College of Liberal Arts, South China Agricultural University (Guangzhou 510642, China)
  • Online:2016-01-25 Published:2017-09-22
  • About author:Xu Yanlin, Ph.D., is a professor in the College of Liberal Arts, South China Agricultural University (Guangzhou, 510642, China), and a research fellow in Lingnan Culture Research Center, South China Normal University, with research interests in history and theories of Chinese classical literature, opera and arts.

PDF (PC)

599

摘要： 中国戏曲学科开山之作——王国维的《宋元戏曲史》，是王国维戏曲研究的理论总结和戏曲文体思想的系统阐述。它在前代理论成果基础上和西学的影响下，针对长期以来戏曲归类、称名、体貌、源起模糊混乱、戏曲被目为“体卑”等而下之的情况，以明确的文体意识将戏曲作为“一代之文学”而高抬曲体；在研究思路上，探讨“体”的观念并梳理戏曲之“体”的演进；在研究方法上，通过考源、定名、辨体，“考史”“建体”两条线索交叉并进，确定了“成一定之体段”“由叙事体而变为代言体”“合动作、言语、歌唱三者而成”的戏曲文体观念，说明“真正之戏曲”具有“以歌舞演故事”的表演形态和代言体的语言形式、“自然”“有意境”的风格特征，最终达到“体制遂定”“纯粹之戏曲”的逻辑构建和现实结论。《宋元戏曲史》开启了戏曲史写作的先河，奠定了戏曲研究的基本框架及研究范式，更发明了戏曲的文体意义，明确了“真戏曲”的文体形态和文体风格，展现了戏曲卓尔不群的风貌，戏曲之“学”由此创立。

关键词: 王国维, 宋元戏曲史, 戏曲文体, 戏曲理论, 文体学, 文体形态, 文体风格

Abstract: Wang Guowei's pioneering work History of Traditional Opera in the Song and Yuan Dynasties is both a theoretical summarization of his studies on opera and a systematic exposition of his stylistic thoughts. Influenced by Western studies and inherited from Chinese academic tradition, the book reviews the classification, naming, features, origins of this genre and the debasing social attitude to it, and proceeds to highlight the genre with a strong consciousness of stylistics. It delineates the evolution of Chinese opera from the perspective of stylistics, and proposes that Chinese opera has integrated features of patterns, observable stylistic development from narrative to speech-acting, and unique combination of acting, speech and singing. It argues that Chinese opera may be called as opera in its truest sense as it presents the story through singing-dance, the language form of speech-acting, and natural and significant style, and eventually it presents a pure opera with logical construction and realistic theme. Wang Guowei's book started the writing of Chinese opera history, built the framkework of Chinese opera research, defined the stylistic features of Chinese opera, determined the stylistic implications of Chinese opera, and founded the discipline of Chinese Opera studies.

Key words: Wang Guowei; History of Traditional Opera in the Song and Yuan Dynasties, Chinese opera as a genre, Chinese opera theory, stylistics, stylistic forms