曾永義臺灣大學：中國文學研究所黃韻如Huang, Yun-JuYun-JuHuang2007-11-252018-05-292007-11-252018-05-292007http://ntur.lib.ntu.edu.tw//handle/246246/50945呂天成（1580-1618）乃明代最重要的戲曲理論家與批評家之一，但後人對於其戲曲理論的探索尚未有全面而深入的專論。筆者欲在前人的基礎之上進行深入探討，進而準確把握呂天成《曲品》自身理論體系和理論內涵，並追尋探隱，辨明其理論得以建構的歷史軌跡和承遞關係，以達到對呂天成戲曲理論的全面掌握。 本論文首先探討呂天成劇論產生的背景，從時代、地域、曲家群、曲論家群等角度著眼，力求建立完整的時空背景圖貌。進一步著力於建立呂氏戲曲理論之體系，注意其理論與前代戲曲理論的承傳關係及其對後代曲論之影響。呂天成的戲曲創作理論與品評觀點與其對於戲曲發展史的觀念有關，故筆者從史、論、評三個方面著眼，並注意各種藝術審美標準間的關聯性，期能梳理呂氏戲曲理論，架構綿密的理論體系，以揭示其理論內蘊，確立其在曲論史上的地位。 本論文分配章節如下。〈緒論〉乃在說明研究動機、前人研究成果、研究方法、內容提要與預期成果。第一章〈《曲品》的撰作背景、呂天成生平及其寫作動機〉，從明代劇壇創作情況、戲曲理論的發展，以及地域因素三方面，對《曲品》的撰作背景加以考察。並概述呂天成的家世、生平、創作生涯、師承友朋與《曲品》的寫作動機及體例。第二章〈品評標準與批評角度〉，指出呂天成對於戲曲發展史與戲曲流派承傳的觀念與其品評標準之間的密切關係，並歸納其品評標準，凸顯其品評標準的原則與特徵。由此而延伸論述呂氏對戲曲功能與創作思想的看法，並指出其重視作家與作品的關係，以及《曲品》中的觀眾、讀者位置。第三章〈論故事、題材、情節、布局與結構〉，從戲曲的藝術要素出發，論述《曲品》中的敘事理論，指出故事題材、情節、布局、結構四者概念的差異，進而歸納分析《曲品》中的故事題材論、情節論、布局論與結構論，並透過其與其他曲論家的比較，凸顯其理論特點。第四章〈當行本色論與雙美說〉，闡明呂天成曲論中「當行本色論」與「雙美說」之間密切的關聯性，並說明其內涵意義，同時揭示其在呂天成戲曲理論系統中的統攝地位。第五章〈戲曲情境說〉，闡述呂天成戲曲情境說的內涵與特色，及其在戲曲意境理論史上的重要價值與地位。首先分析呂天成如何將意境概念從詩詞理論轉化為戲曲理論。而後歸納呂天成戲曲情境說的品評術語與概念，析出構成戲曲情境的三大要素：（一）情景（二）情境（三）趣味。接著闡發三者的內涵，並進一步指出這三個範疇對古典劇論的開拓意義。最後歸納呂天成對戲曲情境的審美要求有三：（一）以真情為本（二）追求逼真自然（三）新穎脫套。〈結論〉乃在歸納呂天成戲曲理論體系，並指出其戲曲理論之得失與評價，凸顯其在戲曲理論史上的地位、價值與影響力。Leu Tian Cheng (1580-1618) was one of the most important xiqu (Chinese traditional theatre) theorists and critics in the Ming Dynasty. However, his theory of xiqu has not yet been explored and discussed intensively. The aim of this thesis is to understand precisely the framework and contents of the theory put forward in Leu’s work, Qupin, by making an in-depth exploration on the basis of previous groundwork, to seek the underlying meanings and to clarify the history and trails based on which his theory is constructed, so as to achieve a comprehensive understanding on Leu’s xiqu theory. First of all, this thesis discusses the background of Leu’s theatrical criticisms from various aspects including the age, the region, theatrical writers and critics during that period and so on, in order to reconstruct a complete picture of the background at that time. Further, the framework for Leu’s xiqu theory is established, with emphasis on its relationship with the preceding xiqu theories and its influence on the theatrical criticisms of the later generations. Leu’s theory of xiqu composition and points of judgment are related to his concept of xiqu development history. Therefore, this thesis focuses on 3 main aspects – history, discussions and criticisms. The connections between various kinds of artistic appreciation standards are considered in order to understand clearly the arrangement of Leu’s xiqu theory and establish a consolidated theory framework that can reveal the true meanings of his theory and confirm its status in the history of theatrical studies. The contents of this thesis are arranged as follows. In the “Introduction”, the research motives, results and methods of previous works are described, and the summary and expected results are explained. Chapter 1 “The background of Qupin, the biography of Leu Tian Cheng and his motive for writing” examines the background in which “Qupin” was written based on the general background of theatrical composition in the Ming Dynasty, the development of xiqu theories and the regional factors. Leu’s family and biography, his career as a writer, his teachers and friends, the motives for writing “Qupin” and the style are also briefly discussed. Chapter 2 “Judgment standards and points of criticisms” points out how Leu’s values on the history of xiqu development and on the inheritance of various xiqu branches are closely related to his judgment standards. His judgment standards are summarized to reveal the principles and characteristics, and Leu’s opinions about the functions of xiqu and ideas of compositions are discussed. This chapter also brings out his concern about the relationship between the composers and their works, as well as the position of viewers and readers in “Qupin”. Chapter 3 “A discussion about story, theme, plot, arrangement and structure” discusses the theory of story-telling in “Qupin” from an artistic point of view. It indicates the differences between the concepts of theme, plot, arrangement and structure, and emphasizes the characteristics of his theory through comparison with other xiqu critics. Chapter 4 “Dang Xing Ben Se Theory and Shuang Mei Theory” explains the relationship between “Dang Xing Ben Se Theory” and “Shuang Mei Theory” put forward by Leu. The underlying meanings of these theories are explained, and Leu’s status as one of the greatest masters in the system of xiqu theory is revealed. Chapter 5 “Xiqu Qingjing Shuo” depicts the ideas and characteristics of Leu’s theory of “Xiqu Qingjing Shuo”, and its importance and status in the history of xiqu artistic conception theory. Firstly, the thesis analyzes how Leu converted artistic conception from a poetic theory into a theatrical theory. Then, Leu’s technical terms and concepts in “Xiqu Qingjing Shuo” criticisms are summarized in order to analyze the 3 main factors of artistic conception in xiqu: (1) the scene; (2) the state of mind; and (3) the taste. Then, the meanings of these three factors are elucidated, and their significance for the development of classical theatrical studies is indicated. Finally, Leu’s requirements in artistic appreciation are summarized into 3 points: (1) based on true emotions; (2) seek for vivid and natural presentation; and (3) be original and creative. The “Conclusion” gives a summary on the framework of Leu Tian Cheng’s xiqu theory, illustrates the pros and cons as well as the criticisms of his theory, and shows its status, value and influence in the history of xiqu theory.口試委員會審定書 i 中文摘要 ii 英文摘要 i ii 緒論 1 第一節 研究動機與前人研究成果 1 第二節 研究方法與內容提要 7 第一章 《曲品》的撰作背景、呂天成生平及其寫作動機 10 第一節 《曲品》的撰作背景 10 第二節 呂天成生平 32 第三節 《曲品》的寫作動機及其體例 59 第二章 品評標準與審美觀 66 第一節 戲曲發展史與流派觀念66 第二節 品評標準 77 第三節 論戲曲功能與創作思想 87 第四節 作者論 99 第五節 《曲品》中的觀眾、讀者位置 105 第三章 論故事、題材、情節、布局與結構 112 第一節 戲曲故事題材論 112 第二節 戲曲情節論、布局論與結構論 151 第四章 當行本色論與雙美說 180 第一節 「當行本色論」為呂天成劇論核心 180 第二節 從「當行本色論」到「雙美說」的延伸 197 第三節 小結 211 第五章 戲曲情境說 214 第一節 從「詩詞意境」到「戲曲情境」的轉化 216 第二節 「戲曲情境」的構成之一：「情景」 227 第三節 「戲曲情境」的構成之二：「情境」 230 第四節 「戲曲情境」的構成之三：「趣味」 233 第五節 小結－兼論戲曲情境說的幾個美學要求 236 結論 呂天成曲論體系及其得失與評價 241 第一節 呂天成戲曲理論體系 241 第二節 呂天成戲曲理論之得失與評價 242 參考文獻 2523494948 bytesapplication/pdfen-US呂天成曲品戲曲理論戲曲批評明傳奇Leu Tian ChengQupinXiqu theoryXiqu criticismsMing Chuanqithesishttp://ntur.lib.ntu.edu.tw/bitstream/246246/50945/1/ntu-96-R92121010-1.pdf