本文關(guān)鍵詞： 月令承應(yīng)戲 《正則成仙》 《漁家言樂》 考論　出處：《中華文化論壇》2014年04期 　論文類型：期刊論文

【摘要】：《正則成仙》和《漁家言樂》是清代兩種月令承應(yīng)戲,以屈原為題材,共同敘寫一個(gè)屈原升仙之后又返回人間的故事。眾多文獻(xiàn)將它們視為兩劇,其實(shí)它們是一個(gè)劇情前后連貫的兩折雜劇。關(guān)于它們的作者,各種文獻(xiàn)皆署為無名氏。筆者經(jīng)過考證發(fā)現(xiàn)作者是康、雍、乾時(shí)期的張照。它們自乾隆初年創(chuàng)作完成之后,又被改編過。它們通常在端午節(jié)和朔望之時(shí)用于"開場(chǎng)"、"團(tuán)場(chǎng)"演出,有一套嚴(yán)格的儀程。
[Abstract]:"regular Cheng Xian" and "Yu Jia Yan Yue" are two kinds of Yue Cheng-ying drama in the Qing Dynasty. Taking qu Yuan as the subject matter, the common narration is a story of qu Yuan ascending the immortal and then returning to the earth. Many documents regard them as two plays. As a matter of fact, they are a two-fold drama with a coherent plot. About their authors, all kinds of literature are anonymous. The author is found to be Kang, Yong after textual research. Photographs of the dry period. They have been adapted since the creation of Qianlong in the early years. They are usually used at the time of Dragon Boat Festival and Shuo Wang for "opening" and "troupe" performances, with a strict set of procedures.
【作者單位】： 宜賓學(xué)院文學(xué)與新聞傳媒學(xué)院;
【基金】：2013年度教育部人文社會(huì)科學(xué)研究青年基金項(xiàng)目“中國(guó)古代屈原戲研究”(13YJC751014)階段性成果
【分類號(hào)】：J809.2
【正文快照】： 明清每逢元旦、端午、七夕、中秋等傳統(tǒng)節(jié)日和其它重要節(jié)氣,民間和宮廷都會(huì)創(chuàng)作和演出與之有關(guān)的戲曲,稱之為應(yīng)時(shí)戲。“到清代乾隆年間,宮廷指定專人編寫、排演新的應(yīng)時(shí)戲,叫做‘月令承應(yīng)’戲�！薄�1〕從乾隆到宣統(tǒng)年間,清廷產(chǎn)生了大量月令承應(yīng)戲,其中流傳下來的劇本大多數(shù)保

【參考文獻(xiàn)】

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