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詠劇詩歌:明清戲曲接受史的生動記錄 (Poetry in Praise of Drama: A Vivid Record of the History of Reception of Ming and Qing Drama)

A talk in Mandarin by Professor Zhao Shanlin, East China Normal University, on the reception of Ming and Qing drama.

Friday, October 26, 2012
3:00 PM - 5:00 PM
11377 Bunche Hall, UCLA

詠劇詩歌,宋元就有,至明清兩代數以萬計,對於考察戲曲的傳播接受具有特殊的價值。價值一是表現了文人接受戲曲的心理定勢,主要是“人生如戲,戲如人生”的認識,這一認識從王安石、蘇軾到王陽明、錢謙益一脈相承。價值二是顯示了文人觀賞戲曲的審美層次,即“技——音——神”,從欣賞演技到欣賞歌唱,再到沈醉於神韻。價值三是透露出文人對戲曲的理論興趣,如淩廷堪(1755—1809)《論曲絕句三十二首》討論歷史真實與藝術虛構的關系,其意見與德國戲劇理論家萊辛(1729—1781)異曲同工。 

Poetry in praise of drama dates to as early as the Song and Yuan. By the Ming and Qing dynasties, these poems numbered in the tens of thousands. These poems have special value for researching the dissemination and reception of drama. First, they express the typical attitude men of letters held regarding drama. That is, “life is like a stage; the stage is like life.” An unbroken line of this attitude can be traced from Wang Anshi and Su Shi in the Song to Wang Yangming and Qian Qianyi in the Ming.  Furthermore, these poems reflect the aesthetic connoisseurship values of men of letters, which include skill, music, and charisma. More specifically, these poems highlight an appreciation of acting skills, the quality of singing and the intoxicatingly charismatic portrayals of the actors on stage. Third, such poetry reveals the theoretical interests of men of letters with regards to drama. For example, Ling Tingkan’s (1755-1809) discussion of the relationship between historical reality and artistic license is not unlike that of the German drama theorist, G. E. Lessing (1729-1781). 


趙山林先生是華東師範大學中文系教授。曾任華東師範大學文學与藝術院副院長。學術專著有《中國戲曲觀眾學》(1990)、《中國戲劇學通論》(1995)、《詩詞趣藝術論》(1998)、《中國古典戲劇論稿》(1998)、《戲曲散論》(2006)、《詩詞曲論稿》(2006)、《中國戲曲傳播接受史》(2008)、《中國近代戲曲編年》(2008)、等。

Zhao Shanlin is a professor in the Department of Chinese at East China Normal University and the former Associate Dean of the Division of Literature and Art at the university. He is an expert on late imperial Chinese drama and is the author of numerous monographs including: “Zhongguo xiqu guanzhong xue” (“A Study of Audiences for Traditional Chinese Drama”), 1990, “Zhongguo xiju xue tonglun” (“A General Theory of Chinese Theater”), 1995, and “Zhongguo xiqu chuanbo jieshou shi” (“A History of the Dissemination and Reception of Traditional Chinese Drama”), 2008.

 


Sponsor(s): Center for Chinese Studies

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