李漁의 音律論과 通俗性 小考 --<<閑情偶寄>>를 중심으로
DC Field | Value | Language |
---|---|---|
dc.contributor.author | 박성훈 | - |
dc.date.available | 2021-02-22T10:55:07Z | - |
dc.date.issued | 2013-12 | - |
dc.identifier.issn | 1598-8503 | - |
dc.identifier.uri | https://scholarworks.sookmyung.ac.kr/handle/2020.sw.sookmyung/6190 | - |
dc.description.abstract | 李渔是中国戏剧史上著名的戏曲理论家、剧作家、演出家。他一生以戏曲的创作和公演为职业。他依靠卖文演出交游维持一家的生活。为了养家糊口, 他创作戏曲十分注重观众的的欣赏趣味和接受能力及心理。 所以他特别重示戏曲的通俗性, 结果自然追求戏曲曲文的通俗性。李渔在<<闲情偶寄·词曲部>> <词采第二>中详细论述了曲文的通俗性问题。在戏曲体制上, 曲文是按演员的唱歌来揭示人物思想感情、推动情节发展的。因曲文的难易与否直接影响到观众对戏曲的理解、欣赏和接受, 所以李渔在〈词采第二〉特别强调曲文的"贵显浅"来实现通俗性。但曲文是必须按戏曲音律创作的。剧作家按谱填词创作曲文, 曲谱是戏曲音乐结构的定型准则。李渔在<<闲情偶寄·词曲部>>〈音律第三〉中说"情事新奇百出,文章变化无穷, 总不出谱內刊成之定格"。从这个意义上说音律成规是保持戏曲本质和特点的稳定因素。在戏曲创作中遵守音律成规就意味着坚持戏曲质的规定性和艺术形式。我认为曲文和音律不能割裂开来,是紧密、有机的统一体。关於追求戏曲曲文的通俗性和音律问题, 我根居<<闲情偶寄·词曲部>>〈音律第三〉探讨了音律的通俗性实现问题。 | - |
dc.format.extent | 18 | - |
dc.language | 한국어 | - |
dc.language.iso | KOR | - |
dc.publisher | 중국문화연구학회 | - |
dc.title | 李漁의 音律論과 通俗性 小考 --<<閑情偶寄>>를 중심으로 | - |
dc.title.alternative | A Study On Li Yu's Dramatic Rhythmics Theory of Realizing The Popularization | - |
dc.type | Article | - |
dc.publisher.location | 대한민국 | - |
dc.identifier.doi | 10.18212/cccs.2013..23.006 | - |
dc.identifier.bibliographicCitation | 중국문화연구, no.23, pp 125 - 142 | - |
dc.citation.title | 중국문화연구 | - |
dc.citation.number | 23 | - |
dc.citation.startPage | 125 | - |
dc.citation.endPage | 142 | - |
dc.identifier.kciid | ART001834817 | - |
dc.description.isOpenAccess | N | - |
dc.description.journalRegisteredClass | kci | - |
dc.subject.keywordAuthor | 李漁 | - |
dc.subject.keywordAuthor | 音律 | - |
dc.subject.keywordAuthor | 通俗 | - |
dc.subject.keywordAuthor | 曲文 | - |
dc.subject.keywordAuthor | 戱曲 | - |
dc.subject.keywordAuthor | 《閑情偶寄》 | - |
dc.identifier.url | https://www.kci.go.kr/kciportal/landing/article.kci?arti_id=ART001834817 | - |
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