李渔与德莱顿戏剧理论比较研究

发布时间：2018-10-12 14:10

【摘要】： 本论文以共时与历时、微观与宏观的综合方式与视野,对中国古典戏曲理论史与英国古典话剧理论史中各自最重要、最具代表性的戏剧理论家李渔与德莱顿的戏剧理论文本与内涵,进行了深入的比较分析。以“求同存异”的基本态度,试图发掘与阐释中英戏剧理论间的普遍性与特殊性,以达到认识他人与自我、互相交流的目的。本论文研究范围分李渔与德莱顿论戏剧结构、语言、人物、思想等四个主要范畴,以及他们剧论本身的文体风格。首先,李渔的创新性在于提出“结构第一”与“立主脑”,而德莱顿的贡献在于他对“三一律”的修正。李渔倡导戏曲结构由传统的松散型向紧严型转变,而德莱顿则变通“三一律”,使戏剧结构由单一、紧严变为宽松、自由。李渔与德莱顿的戏剧结构论在某种程度上都既继承又背离各自文化圈的戏剧实践与理论传统,反而朝向对方的传统戏剧结构观念。其二、李渔与德莱顿论述戏剧语言都集中在其通俗性、生动性、创新性、精炼性、音乐性、语体特征等方面。李渔号召戏曲语言通俗化,德莱顿呼吁英剧语言规范、文雅化。其三、李渔与德莱顿都强调戏剧人物的真实性,以合情合理为人物形象塑造标准,注重人物个性与共性的统一。李渔提倡塑造主要人物的单一性,以此来紧缩以往戏曲作品松散的情节结构;而德莱顿则肯定英国戏剧人物的多样性。其四、李渔与德莱顿都将戏剧的娱乐性置于首位,教诲第二,而理想则是寓教于乐。李渔要求戏剧题材新颖、推陈出新,德莱顿更注重艺术想像和技能。最后,李渔的剧论外部结构系统、完整,但其内部论说方式仍属于诗话式的;德莱顿的剧论并不系统、完整,而其灵动的评说方式似中国诗话。李渔与德莱顿巧用修辞,形成了一种论理为主、形容为辅,理性与形象相结合的剧论言说风格。通过此项分析与研究,本论文揭示出李渔与德莱顿剧论中几项重要的共通之处,同时也指出他们的戏剧中各自的独特性。两人的剧论在诸多方面形成了针对其各自传统的某种二律背反,而针对其对方却形成了互相靠近的倾向,但这决非意味着彼此可以互相通融与消解,而是遥相呼应。李渔与德莱顿在戏剧理论不同层次上的相通与相异性使我们更深地了解自己与对方,同时加固了中英与中西戏剧理论沟通的平台,促进了中西文化的顺利交流与和谐发展。
[Abstract]:In this thesis, the synchronic and diachronic, microscopic and macroscopic comprehensive ways and perspectives are most important to the history of Chinese classical opera theory and the history of British classical drama theory. The most representative drama theorists Li Yu and Dryden's drama theory text and connotation have carried on the thorough comparative analysis. With the basic attitude of "seeking common ground while reserving differences", this paper tries to explore and explain the universality and particularity of Chinese and English drama theories in order to realize the purpose of understanding others and themselves and communicating with each other. The research scope of this thesis is divided into four main categories of drama structure, language, character and thought, and the style of their drama theory. First of all, Li Yu's innovation lies in putting forward "structure first" and "dominating brain", while Dryden's contribution lies in his revision of "three uniform". Li Yu advocated the change of opera structure from traditional loose type to tight and strict type, while Dryden changed the structure of drama from single, tight to loose and free. To a certain extent, Li Yu and Dryden's theory of drama structure both inherit and deviate from the theatrical practice and theoretical tradition of their respective cultural circles, on the contrary, they tend to the other side's traditional concept of drama structure. Second, both Li Yu and Dryden discuss drama language in its popularity, liveness, innovation, refinement, musicality and stylistic features. Li Yu called for the popularization of opera language, Drayton called for English drama language norms, elegant. Third, both Li Yu and Dryden emphasize the authenticity of the characters in drama, and focus on the unity of personality and commonality. Li Yu advocated the singularity of the main characters as a way to reduce the loose plot structure of the previous opera works, while Dryden affirmed the diversity of British drama characters. Fourth, both Li Yu and Dryden put the entertainment of drama first, the education second, and the ideal is to teach in the fun. Li Yu demanded that drama be new and innovative, while Dryden paid more attention to artistic imagination and skills. Finally, Li Yu's drama theory has a complete system of external structure, but its internal mode of argumentation is still poetic, while Drayton's theory of drama is not systematic and complete, and its intelligent way of comment is like Chinese poetry. Li Yu and Dryden skillfully use rhetoric to form a style of drama theory. Through this analysis and research, this paper reveals several important similarities between Li Yu and Dryden's drama theory, and also points out their own uniqueness in their plays. In many ways, the drama theory of the two men has formed some kind of two-law backside against their respective traditions, while the opposite party has formed a tendency to be close to each other, but this does not mean that they can reconcile and dissolve each other, but they echo each other. Li Yu and Dryden's communication and heterogeneity on different levels of drama theory make us understand ourselves and each other more deeply, at the same time, strengthen the platform of communication between Chinese and English and Chinese and western drama theory, and promote the smooth communication and harmonious development of Chinese and western culture.
【学位授予单位】：苏州大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：I106.3;I0-03

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