戏曲演进史

《戏曲演进史》是曾永义教授以剧种的演进为骨架，参照诸多文献资料与底本，编成的鸿篇巨制，全面阐述了中国戏曲的演进过程，被认为“完善了一代之学的内涵和外延”，是该领域的标志性著作。 本书包括两大部分：“金元明北曲杂剧编”之第十四章至十五章以及“明清南杂剧”。各部分具体内容如下：“金元明北曲杂剧编”第十四章“北曲杂剧之余势：明初宪宗成化以前百二十年作家作品述评”、第十五章“周宪王及其《诚斋杂剧》 ”、第十六章“北曲杂剧的尾声：明中叶至清代名家名作述评”。 “明清南杂剧”部分：“序说”、第一章“明清杂剧之著录”、第二章“明清南杂剧演进之态势”、第三章“明中期南杂剧作家作品述评”、第四章“明后期南杂剧作家作品述评”、第五章“清顺康间南杂剧、短剧作家与作品述评”、第六章“清雍乾间南杂剧、短剧述评”、第七章“杨潮观及其《吟风阁杂剧》”、第八章“清嘉道咸杂剧述评”、第九章“清嘉道咸杂剧述评”、附录“清嘉道咸杂剧述评”“清嘉道咸杂剧述评”。

丁 金元明北曲杂剧（下） 第十四章　北曲杂剧之余势：明初宪宗成化以前百二十年作家作品述评 ···························································································3 引 言 ··················································································· 3 一、明初十六子 ······································································· 6 二、宁献王及其他诸家 ····························································· 36 三、教坊剧 ············································································ 51 四、无名氏杂剧 ······································································ 61 第十五章 周宪王及其《诚斋杂剧》 ············································· 71 引 言 ·················································································· 71 一、周宪王之家世与生平 ·························································· 71 二、《诚斋杂剧》的总目及所改正的旧本 ······································ 80 三、《诚斋杂剧》的内容和思想 ·················································· 88 四、《诚斋杂剧》结构排场的特色 ··············································· 96 五、《诚斋杂剧》的文章 ··························································110 余 言 ················································································ 120 附：《雍熙乐府》选录《诚斋杂剧》剧目 ····································· 122 第十六章　北曲杂剧的尾声：明中叶至清代名家名作述评 ···············125 引 言 ················································································ 125 一、康海与王九思 ································································· 125 二、冯惟敏及其他北杂剧诸家 ·················································· 148 三、孟称舜及其他北杂剧诸家 ·················································· 170 四、尤侗的《西堂乐府》 ························································· 205 结 语 ················································································ 209 结 尾··················································································210 戊 明清南杂剧 序 说··················································································215 第一章　明清杂剧之著录 ·························································216 一、“明杂剧体制提要”之统计 ················································ 220 二、“清杂剧体制提要”之统计 ················································ 224 第二章　明清南杂剧演进之态势 ················································226 一、明中期杂剧之“南曲化”与“文士化” ································· 226 二、明后期杂剧“昆山腔水磨调化”蜕变为“南杂剧”与“短剧” ··· 230 三、清代杂剧趋于短剧“辞赋化” ············································· 235 第三章　明中期南杂剧作家作品述评 ··········································240 一、徐渭生平与《四声猿》杂剧述评········································· 240 二、李开先、许潮、汪道昆三位短剧作家述评····························· 261 第四章　明后期南杂剧作家作品述评 ··········································278 引 言 ················································································ 278 一、陈与郊《昭君出塞》《文姬入塞》《义犬记》与徐复祚《一文钱》述评 ························································································· 278 二、沈璟《博笑记》及吴江旗下王骥德《男皇后》、吕天成《齐东绝倒》、沈自徵《渔阳三弄》、叶小纨《鸳鸯梦》述评 ······························ 290 三、叶宪祖《檞园杂剧》十二种述评········································· 315 四、傅一臣《苏门啸》十二种述评············································ 330 五、其他南杂剧诸家 ······························································ 335 第五章　清顺康间南杂剧、短剧作家与作品述评 ···························348 一、吴伟业及其他诸家 ··························································· 348 二、徐石麒及其他诸家 ··························································· 354 三、裘琏及其他诸家 ······························································ 365 附录：无名氏《三幻集》 ························································· 373 第六章　清雍乾间南杂剧、短剧述评 ··········································374 一、蒋士铨 ·········································································· 374 二、桂馥和曹锡黼 ································································· 377 三、唐英及其他诸家 ······························································ 380 第七章　杨潮观及其《吟风阁杂剧》 ············································384 一、作者的生平事迹 ······························································ 385 二、《吟风阁杂剧》的内容和思想 ············································· 386 三、《吟风阁杂剧》的布局、排场和文章 ···································· 400 四、余论 ············································································· 406 第八章　清嘉道咸杂剧述评 ······················································407 一、舒位及其他诸家 ······························································ 407 二、许鸿磐、周乐清和黄燮清 ·················································· 414 三、陈栋及其他诸家 ······························································ 418 第九章　清同光杂剧述评 ·························································423 一、杨恩寿和陈烺 ································································· 423 二、许善长和刘清韵 ······························································ 426 三、袁蟫及其他诸家 ······························································ 428 结 尾··················································································433 附 录··················································································434 一、明代杂剧体制提要 ··························································· 434 二、清代杂剧体制提要及存目 ·················································· 450

曾永义（1941—2022），台湾台南县人。台湾大学文学博士，“中研院院士”。长年从事戏曲、俗文学、韵文学、民俗艺术的维护发扬与教学研究工作。曾在哈佛大学燕京学社、斯坦福大学、香港大学、北京大学、中国戏曲学院等知名学府客座讲学或访问合作。出版《戏曲学》《戏曲剧种演进史考述》《戏曲演进史》等戏曲研究类学术著作20 余部，创作戏曲剧本22 种。被誉为当代戏曲研究的“中流砥柱”，其《戏曲演进史》被认为“完善了一代之学的内涵和外延”，是该领域的标志性著作。

暂无其它内容！

暂时还没有人为这本书评论！