CAJ | 학술논문

戏曲是中华民族独特的艺术。由于封建统治阶级视戏曲为“小道”、“末技”，常常依仗国家意志和法律手段对戏曲动辄排斥或者禁毁，使得戏曲难以登阶入室，跻身文学艺术大家庭的殿堂。自宋代以来，有识之士不遗余力地为戏曲呐喊、正名，戏曲身份认同的现实本源施展与冲突绵延不绝。其中，明末清初的李渔是戏曲身份认同的现实本源施展与冲突中的典型事例。李渔克服“穷骨”、“恶岁”、“砚田糊口”的生存困境，敢于直面戏曲身份认同的现实本源施展与冲突，为戏曲身份认同矢志不渝地贡献了毕生精力。古代戏曲身份认同为近世王国维为戏曲正名奠定了深厚的学理基础，创造了充分的条件。
희곡시중화민족독특적예술。유우봉건통치계급시희곡위“소도”、“말기”，상상의장국가의지화법률수단대희곡동첩배척혹자금훼，사득희곡난이등계입실，제신문학예술대가정적전당。자송대이래，유식지사불유여력지위희곡눌함、정명，희곡신빈인동적현실본원시전여충돌면연불절。기중，명말청초적리어시희곡신빈인동적현실본원시전여충돌중적전형사례。리어극복“궁골”、“악세”、“연전호구”적생존곤경，감우직면희곡신빈인동적현실본원시전여충돌，위희곡신빈인동시지불투지공헌료필생정력。고대희곡신빈인동위근세왕국유위희곡정명전정료심후적학리기출，창조료충분적조건。
Chinese opera is an art with Chinese national flavors. Seen as "tiny arts" and "trivial technique"by feudal dominating classes and frequently suppressed or forbidden by them through state will and legal means, Chinese opera was excluded from the hall of literary arts. Since Song dynasty, many scholars with far sights struggled for the status of opera, with which is endless realistic fundamental expansion and conflicts of opera identity. The identity of Li Yu at the turn of Ming and Qing dynasties is a typical case. Overcoming hard life of"poor bone","famine years"and"literature as a trade", Li Yu faced squarely the expansions and conflicts and devoted the rest of his life to the identity of opera. Such identity laid solid theoretical foundations and provided sufficient conditions for Wang Guowei's establishment of opera as a discipline.