完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.author | 陳富容 | |
| dc.contributor.other | Fung-Jung Chen | |
| dc.date.accessioned | 2020-08-25T06:53:08Z | - |
| dc.date.available | 2020-08-25T06:53:08Z | - |
| dc.date.issued | 2012/09/25 | |
| dc.identifier.issn | 1682-587N | |
| dc.identifier.uri | http://dspace.fcu.edu.tw/handle/2376/2382 | - |
| dc.description.abstract | 《牡丹亭》（又名《還魂記》）是繼《西廂記》之後，影響戲劇界最巨的一部著作，也是湯顯祖一生得意之勝場。此劇一出，便引起廣大的討論興趣，幾乎所有著名的戲劇家，都曾經以不同的方式，如序跋、眉批、改編、校註等，對它提出意見，為使其完美登於場上，作出具體的貢獻。其反覆爭論的結果，則激發出不少精彩的理論，豐富了中國戲劇的內容。所以若謂《牡丹亭》是中國戲劇發展史上，最重要的一部著作，亦不為過矣。_x000D_ 臧懋循批改的《還魂記》，便是以改編及眉批的方式，對此劇提出意見的作品。歷來對於此作的評價不高，甚至有人將之目為「臨川之讎」，故並未廣為流行。但筆者私度，以臧懋循在戲劇界的表現，他的作品絕對不會真的一無可取。_x000D_ 故遍尋善本，將之與原作進行比對分析，發現他對《牡丹亭》提出了不少可供參考的意見，如關目的刪併與移動、曲文的刪改與批評、腳色人物的增刪與改扮、場面的安排與演出的提詞等，對於整個中國戲劇舞台的進步，都有著不可忽視的貢獻。故期以本文將之完整呈現，以求還原事實的真相。 | |
| dc.description.sponsorship | 逢甲大學 | |
| dc.format.extent | 22 | |
| dc.language.iso | 中文 | |
| dc.relation.ispartofseries | 逢甲人文社會學報 | |
| dc.relation.isversionof | 第四期 | |
| dc.subject | 戲曲 | |
| dc.subject | 臧懋循 | |
| dc.subject | 湯顯祖 | |
| dc.subject | 牡丹亭 | |
| dc.subject | 還魂記 | |
| dc.subject.other | drama | |
| dc.subject.other | Tsang Mao-hsun | |
| dc.subject.other | Tang Hsien–tsu | |
| dc.subject.other | Hwan Hwen Ji | |
| dc.subject.other | Muu Tan Tang | |
| dc.title | 臧懋循批改本《還魂記》之評析 | |
| dc.title.alternative | The Anasysis of Tsang Mao-hsun 's revision of 'Hwan Hwen Ji' | |
| dc.type | 期刊篇目 | |
| dc.description.translationabstract | 'Muu Tan Ting'(also called 'Hwan Hwen Ji') is the greatest drama work that has enormous impact on the Chinese drama world after 'Xi Xiang Ji', and it is also the best and proudest drama work of Tang Hsien–tsu in his life . Since it born, this drama has appealed so much enthusiastic discussing that almost all of the noted Chinese dramaturges have ever given their opinions to it in different ways, such as making a preface, postscript, comments, adaption, revisions, and so on. These zealous efforts make a large contribution to perfect the showing effect of this drama on the stage. _x000D_ Even the debate between contrary positions also provoked a lot of excellent theories and enriched the content of Chinese drama. Hence, we have good reasons for viewing 'muu tan ting' as the most important work in the developmental history of Chinese drama. _x000D_ Tsang Mao-hsun revision of 'Hwan Hwen Ji' is just one of the adaption and commenting of this drama. This work didn't get much attention or looked upon by critics before, even with the notorious fame as 'the enemy of Tang Shean-Zu' which means it deteriorates the level of Tang Shean-Zu's work. However, I don't agree this opinion. Once examining of Tsang Mao-hsun 's achievements as a dramaturge, we will conclude that his work won't be valueless at all. As a researcher, I have looked for a lot of better copies of this work, compared and analyzed them with the original one,and finally found that he had given a lot of valuable opinions for 'muu tan ting', such _x000D_ as the removing and combings of drama structure, the revising and commenting of drama plots and songs, the reduction and supplement of actors, the arrangement of settings, and the hint words for drama---all of them gave a mass of important _x000D_ contribution for the progress of Chinese drama. Therefore I expect to express it integrant ally by this article, and give fair comment for Tsang Mao-hsun 's revision of 'Hwan Hwen Ji'. | |
| 分類: | 第04期 | |
在 DSpace 系統中的文件，除了特別指名其著作權條款之外，均受到著作權保護，並且保留所有的權利。