太原大学学报
太原大學學報
태원대학학보
JOURNAL OF TAIYUAN UNIVERSITY
2015年
1期
71-76
,共6页
清代前期%戏曲论著%制曲与声律%《制曲枝语》%《南曲入声客问》
清代前期%戲麯論著%製麯與聲律%《製麯枝語》%《南麯入聲客問》
청대전기%희곡론저%제곡여성률%《제곡지어》%《남곡입성객문》
early Qing Dynasty%opera theoretical works%composition and singing skills
黄周星《制曲枝语》与毛先舒《南曲入声客问》，是明末清初具有代表性的两种戏曲论著，前者以“创作论”为主，后者则以“入声”为切入点，重在对唱法艺术进行讨论。崇尚“本色语”，主张“少引圣经”，反对“割凑曲名”与“堆垛典故”，提倡“雅俗共赏”，并以“能感人”为其旨归，是黄周星戏曲认识观的核心所在。毛先舒的戏曲认识观，则重点表现在三个方面：一是远“声律”而近“音律”，二力主南曲中的入声作“两截”唱，三是讲究唱法艺术的精益求精。二人的戏曲认识观各具特点。
黃週星《製麯枝語》與毛先舒《南麯入聲客問》，是明末清初具有代錶性的兩種戲麯論著，前者以“創作論”為主，後者則以“入聲”為切入點，重在對唱法藝術進行討論。崇尚“本色語”，主張“少引聖經”，反對“割湊麯名”與“堆垛典故”，提倡“雅俗共賞”，併以“能感人”為其旨歸，是黃週星戲麯認識觀的覈心所在。毛先舒的戲麯認識觀，則重點錶現在三箇方麵：一是遠“聲律”而近“音律”，二力主南麯中的入聲作“兩截”唱，三是講究唱法藝術的精益求精。二人的戲麯認識觀各具特點。
황주성《제곡지어》여모선서《남곡입성객문》，시명말청초구유대표성적량충희곡론저，전자이“창작론”위주，후자칙이“입성”위절입점，중재대창법예술진행토론。숭상“본색어”，주장“소인골경”，반대“할주곡명”여“퇴타전고”，제창“아속공상”，병이“능감인”위기지귀，시황주성희곡인식관적핵심소재。모선서적희곡인식관，칙중점표현재삼개방면：일시원“성률”이근“음률”，이력주남곡중적입성작“량절”창，삼시강구창법예술적정익구정。이인적희곡인식관각구특점。
Huang Zhouxing’s“Zhiqu Zhiyu”( Musical Composition Knowledge)and Mao Xianshu’s“Nanqu Rusheng Kewen”( South Kun Opera Singing Skills)are the two representative opera works in early Qing Dynasty. The former is about opera composition knowl-edge,and the latter is about opera singing skills. Both of them are discussing on the opera singing. The core of Huang Zhouxing’s cog-nitive view advocates“natural language”,upholds“less quoting the classics”,opposes“putting music names together”and“piling up allusions”and advocates“widely appealing”. While Mao Xianshu’s opera cognitive view is mainly about the following three aspects;firstly“less musical rhythm”but“more voice melody”:secondly advocating“two period”singing in South Opera:thirdly paying at-tention to improvement of singing art. The two opera cognitive views are different but have their respective characters.
