CAJ | 학술논문

随着晚明戏曲理论研究的不断深人，曲学虚实论逐渐成为晚明曲论者注目的课题。从李贽到汤显祖、谢肇浙，再到王骥德等曲论研究者，无不强调戏曲创作虚实结合的基本原则，这从叙事的角度确认了戏曲构撰故事的虚构性文艺本质特征。另一方面，晚明曲学虚实论的精神实质又赋予了戏曲叙事强烈的情感色彩，从理论的角度肯定了戏曲抒情写意的民族特色。
수착만명희곡이론연구적불단심인，곡학허실론축점성위만명곡론자주목적과제。종리지도탕현조、사조절，재도왕기덕등곡론연구자，무불강조희곡창작허실결합적기본원칙，저종서사적각도학인료희곡구찬고사적허구성문예본질특정。령일방면，만명곡학허실론적정신실질우부여료희곡서사강렬적정감색채，종이론적각도긍정료희곡서정사의적민족특색。
With the constant deepening of dramaturgical studies of the late Ming Dynasty, the Virtual-Actual Theory in dramatic studies has gradually become the attractive subject to drama researchers. From Lizhi to Tangxianzu and Xiezhaozhe, and to Wangjide, etc., all the researchers emphasized the basic principle of the virtual-actual combination in drama creation, they also confirmed the characteristics of the essence of art in drama fabrication from the perspective of narration, and thus promoted the prosperous development of drama creation in late Ming Dynasty from the viewpoint of art.