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1、晚明紹興曲壇研究姓名：張玲導(dǎo)師姓名：楊東甫學(xué)科專業(yè)：中國古代文學(xué)研究方向：元明清方向年級：2010級摘要晚明紹興曲壇是中國戲曲史上一個引人注目的存在，涌現(xiàn)了王驥德、呂天成、孟稱舜、祁彪佳等大批成就卓著的劇作家和曲學(xué)理論家，戲曲作品數(shù)量眾多，佳作紛呈；理論著述有《曲律》、《曲品》、《遠(yuǎn)山堂劇品》等等，彪炳曲壇，貢獻(xiàn)突出。晚明紹興曲壇的創(chuàng)作與研究，受到當(dāng)時的“主情”戲曲思想和“實學(xué)”思潮的影響及推動，呈現(xiàn)重真情、尚本色的特點，以及批判現(xiàn)實、向傳統(tǒng)回歸的色彩。晚明紹興曲壇之繁榮興盛，其成因主要是：良好的戲曲生態(tài)環(huán)境，包括相關(guān)戲曲文化
2、傳統(tǒng)和地緣因素；文化家族的影響力；戲曲家彼此間的切磋交流等。關(guān)鍵詞：晚明；紹興曲壇；研究ITheStudyofShaoxingTheatricalCirclesinLateMingDynastyAbstractAsaspectacularphenomenonofchinesedramahistory,inShaoxing,thereappearedagroupofremarkableplaywrightsandtheoristsduringlateMingDynasty,includingWangJi-de,LvTian-ch
3、eng,MengChen-shun,QiBiao-jia,etc.Theirdramaworkswereexcellentandhugeinnumbers.Moreover,theirtheatricaltheorieshadmadeagreatimpactindramacircles,suchasQuLv,QuPing,YuanShangTangJuPing.Undertheinfluencesoftheromanticthoughtsandpracticalthoughts,theirworkspayedattention
4、togenuineaffectionandlayedemphasisonBenSe(theconceptherewithmeaningofnature,feeling,individuality,etc).Theirworksalsocharacterizedbycriticizingtherealityandreturningtothetradition.AnumberoffactorscouldaccountfortheboomofShaoxingdramacircle,suchasgoodculturalenvironm
5、ent(includinglocaldramatraditionandgeologicalfactors),theinfluencepowerofcultralfamilies,theassociationamongtheseplaywrightsandtheorists.KeyWords:LateMingDynasty；ShaoxingDrama；ResearchII目錄摘要............................................................................
6、..............................................................IAbstract..................................................................................................................................II緒論.............................................................
7、............................................................................1一、本文所論“晚明紹興曲壇”之內(nèi)涵界定..........................................................1二、本論題的研究現(xiàn)狀與研究意義..........................................................................2三、本文的主要研究對象..........
8、...............................................................................4第一章晚明紹興地區(qū)的戲曲創(chuàng)作、研究概況與演劇活動..................................
