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戲曲演進史三:金元明北曲雜劇(上) 版權信息
- ISBN：9787522517773
- 條形碼：9787522517773 ; 978-7-5225-1777-3
- 裝幀：精裝
- 冊數：暫無
- 重量：暫無
- 所屬分類：>
戲曲演進史三:金元明北曲雜劇(上) 內容簡介
《戲曲演進史》是曾永義教授以劇種的演進為骨架，參照諸多文獻資料與底本，編成的鴻篇巨制，全面闡述了中國戲曲的演進過程，被認為“完善了一代之學的內涵和外延”，是該領域的標志性著作。 本書為《戲曲演進史》的“金元明北曲雜劇編”之前十三章。各章具體內容依次為：**章“北曲雜劇之淵源、性成果與分期”、第二章“蒙元北曲雜劇之背景”、第三章“元代北曲雜劇之劇目、題材與內容”、第四章“蒙元北曲雜劇流布之六大中心及其作家作品簡述”、第五章“北曲雜劇之理論述評：從元代到明初”、第六章“蒙元北曲雜劇之藝術成分與搬演過程”、第七章“所謂‘元曲四大家’”、第八章“關漢卿研究及其展望”、第九章“關漢卿雜劇述評”、第十章“馬致遠雜劇述評”、第十一章“白樸、鄭光祖雜劇述評”、第十二章“喬吉及其他作家述評”、第十三章“今本《西廂記》綜論”。
戲曲演進史三:金元明北曲雜劇(上) 目錄
丁 金元明北曲雜劇編
序 說·····················································································3
**章 北曲雜劇之淵源、形成與分期 ··········································6
引 言 ··················································································· 6
一、小戲群源生期“金院本” ····················································· 12
二、小戲發展轉型過渡大戲期“金院么” ······································ 16
三、大戲形成始興期“金蒙么末” ··············································· 24
四、北方大戲大盛期“蒙元么末與元雜劇” ··································· 26
五、大戲南北全盛期“元雜劇” ·················································· 29
六、大戲衰落期“元雜劇” ························································ 33
七、大戲余勢期“明初北曲雜劇” ··············································· 36
結 語 ·················································································· 38
第二章 蒙元北曲雜劇之背景 ···················································· 41
一、蒙元之政治社會 ································································ 41
二、蒙元文人之遭遇 ································································ 48
三、蒙元之藝文理論與曲詞之特質·············································· 51
四、蒙元之宗教、交通、商業與雜劇之興盛·································· 72
第三章 元代北曲雜劇之劇目、題材與內容 ·································· 76
一、劇目著錄 ········································································· 76
二、題材類型 ········································································· 77
三、內容特色 ········································································· 85
四、語言運用：從戲曲語言說到北劇語言····································· 90
第四章 蒙元北曲雜劇流布之六大中心及其作家作品簡述 ···············102
引 言 ················································································ 102
一、中州雜劇之作家與作品 ····················································· 102
二、大都雜劇之作家與作品 ····················································· 104
三、真定雜劇之作家與作品 ····················································· 109
四、平陽雜劇之作家與作品 ······················································117
五、東平雜劇之作家與作品 ····················································· 128
六、杭州雜劇之作家與作品 ····················································· 132
結 語 ················································································ 142
第五章 北曲雜劇之理論述評：從元代到明初 ······························144
引 言 ················································································ 144
一、胡祗遹等之“零金片語” ··················································· 145
二、芝庵《唱論》 ·································································· 149
三、周德清《中原音韻》 ························································· 155
四、鐘嗣成《錄鬼簿》與賈仲明《錄鬼簿續編》 ··························· 166
五、夏庭芝《青樓集》 ···························································· 182
六、明人《太和正音譜》之作者問題及其曲論····························· 191
結 語 ·················································································211
第六章 蒙元北曲雜劇之藝術成分與搬演過程 ······························213
引 言 ················································································ 213
一、北曲雜劇外在結構“體制規律”之淵源與形成······················· 213
二、北曲雜劇的劇場與劇團 ····················································· 220
三、北曲雜劇之穿關與妝扮 ····················································· 237
四、元代北曲雜劇之樂曲、樂器與科白······································ 253
五、元代北曲雜劇內在結構“排場”之概念與舉例······················· 271
六、元代北曲雜劇搬演前后及其過程········································· 279
結 語 ················································································ 297
展開全部
戲曲演進史三:金元明北曲雜劇(上) 作者簡介
曾永義（1941—2022），臺灣臺南縣人。臺灣大學文學博士，“中研院院士”。長年從事戲曲、俗文學、韻文學、民俗藝術的維護發揚與教學研究工作。曾在哈佛大學燕京學社、斯坦福大學、香港大學、北京大學、中國戲曲學院等知名學府客座講學或訪問合作。出版《戲曲學》《戲曲劇種演進史考述》《戲曲演進史》等戲曲研究類學術著作20 余部，創作戲曲劇本22 種。被譽為當代戲曲研究的“中流砥柱”，其《戲曲演進史》被認為“完善了一代之學的內涵和外延”，是該領域的標志性著作。
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