李漁의 科諢예술론 고찰 -- 《閑情偶寄》를 중심으로
DC Field | Value | Language |
---|---|---|
dc.contributor.author | 박성훈 | - |
dc.date.available | 2021-02-22T11:05:55Z | - |
dc.date.issued | 2009-12 | - |
dc.identifier.issn | 1598-8503 | - |
dc.identifier.uri | https://scholarworks.sookmyung.ac.kr/handle/2020.sw.sookmyung/7416 | - |
dc.description.abstract | 科诨,即插科打诨的略称. 科多指动作, 诨多指语言. 所以可以說科诨是滑稽性的动作和语言的合称,, 是戏曲中各种使观众发笑的穿插. 李渔,明末清初戏曲作家、有戏《笠翁十种曲》传世, 大都为风情滑稽剧. 他以为戏剧是大众开心解忧的娱乐工具, 观众是花了钱来寻乐子的, 娱乐性,喜剧、喜剧效果,应该是戏剧的艺术追求. 所以科诨成了他追求喜剧效果不可或缺的主要艺术手段之一. 他在《闲情偶寄·词曲部》中就专列“科诨”一节, 从理论上阐述了科诨的重要性, 论述了科诨与观众接受的密切关系; 认为科诨是刻画喜剧形象的重要手段, 科诨要为塑造喜剧形象服务. 他从“戒淫亵”、“忌俗恶”、“重关系”、“贵自然”四个方面, 从理论上对科诨艺术的魅力作了充分的估价, 提出了超越前人的最为系统的科诨理论. 在一定意义上, 李渔的科诨理论也是空前绝后的, 在他之后还没有人提出更为系统和更为精辟的科诨理论. 我在本文從科諢的重要性, 自然性, 通俗性的三個方面仅探讨李渔科诨艺术. 我發見 ,我们應該把李渔的“結構”、“词采”、“宾白”和“科诨”联系起来理解, ,才可以系统掌握李渔对科诨要求和運用. | - |
dc.format.extent | 18 | - |
dc.language | 한국어 | - |
dc.language.iso | KOR | - |
dc.publisher | 중국문화연구학회 | - |
dc.title | 李漁의 科諢예술론 고찰 -- 《閑情偶寄》를 중심으로 | - |
dc.title.alternative | On the Art of Kehun in Li Yu's Drama | - |
dc.type | Article | - |
dc.publisher.location | 대한민국 | - |
dc.identifier.doi | 10.18212/cccs.2009..15.023 | - |
dc.identifier.bibliographicCitation | 중국문화연구, no.15, pp 415 - 432 | - |
dc.citation.title | 중국문화연구 | - |
dc.citation.number | 15 | - |
dc.citation.startPage | 415 | - |
dc.citation.endPage | 432 | - |
dc.identifier.kciid | ART001409694 | - |
dc.description.isOpenAccess | N | - |
dc.description.journalRegisteredClass | kciCandi | - |
dc.subject.keywordAuthor | 科诨 | - |
dc.subject.keywordAuthor | 李漁 | - |
dc.subject.keywordAuthor | 戱曲 | - |
dc.subject.keywordAuthor | 《闲情偶寄》 | - |
dc.identifier.url | https://www.kci.go.kr/kciportal/landing/article.kci?arti_id=ART001409694 | - |
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