【摘要】：乾嘉時(shí)期地方戲曲崛起,雅俗之辯成為戲曲理論的熱點(diǎn)問(wèn)題。李調(diào)元反對(duì)傳統(tǒng)觀念中以詩(shī)文為雅、以戲曲為俗的觀點(diǎn),認(rèn)為文體無(wú)雅俗,應(yīng)當(dāng)從實(shí)際功用的角度來(lái)衡量文學(xué)的價(jià)值。戲曲是表演的藝術(shù),李調(diào)元認(rèn)為戲曲語(yǔ)言應(yīng)該堅(jiān)持當(dāng)行本色,反對(duì)過(guò)度案頭化的雅化,同時(shí),他對(duì)過(guò)度俗化也提出了批評(píng)。在主題的選擇上,李調(diào)元傾向于倫理教化的戲曲,反對(duì)誨淫誨盜、怪力亂神的創(chuàng)作傾向。
[Abstract]:With the rise of local opera in Qianjia period, the debate of elegance and vulgarity became a hot issue in opera theory. Li Diaoyuan opposed the traditional concept of poetry and opera as the vulgar point of view that style has no elegance and vulgarity should measure the value of literature from the perspective of practical function. Opera is the art of performing. Li Tiao Yuan believes that opera language should adhere to the original style and oppose the elegance of excessive desk. At the same time, he also criticizes excessive vulgarization. In the choice of theme, Li Yaoyuan tends to the traditional Chinese opera of ethics, and opposes the creative tendency of teaching obscenity and disorderly spirit.
【作者單位】： 玉林師范學(xué)院文學(xué)與傳媒學(xué)院;
【基金】：2016年國(guó)家社會(huì)科學(xué)基金西部項(xiàng)目“清代乾嘉時(shí)期的樸學(xué)與文學(xué)”(項(xiàng)目編號(hào):16XZW002)的階段性成果
【分類(lèi)號(hào)】：J905
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本文編號(hào)：2138126