完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.author | 陳富容 | |
| dc.contributor.other | Fu-Jung Chen | |
| dc.date.accessioned | 2020-08-25T06:57:05Z | - |
| dc.date.available | 2020-08-25T06:57:05Z | - |
| dc.date.issued | 2012/10/17 | |
| dc.identifier.issn | 1682-587N | |
| dc.identifier.uri | http://dspace.fcu.edu.tw/handle/2376/2415 | - |
| dc.description.abstract | 「當行」、「本色」是戲曲批評中重要的兩個概念，而其運用範疇，歷來曲論家定義不一，大約包含語言、曲律、情節關目及舞台表演等項目。而其中以之批評戲曲語言者最多，馮夢龍亦在此之列。_x000D_ 在戲曲史的長流中，馮夢龍針對「當行本色」的言論並不突出，甚至有拾人牙慧之嫌。但若結合其改編戲劇的實際動作，則其中實有過人之處。_x000D_ 本文將馮夢龍改編劇中的語言論分為「曲辭」和「賓白」兩者，依其改編重點，分為「肖人物口吻」、「用詞新麗不陳腐」、「敘事流暢有條理」及「寫情宛轉而多致」四項來說明「曲辭的當行本色」；另外以「符合人物身分」、「流利生動而不落粗鄙」及「連結曲辭和科介」三點來說明「賓白的當行本色」。最後歸結出「馮夢龍改編語言的當行本色論」的重要價值。 | |
| dc.description.sponsorship | 逢甲大學 | |
| dc.format.extent | 26 | |
| dc.language.iso | 中文 | |
| dc.relation.ispartofseries | 逢甲人文社會學報 | |
| dc.relation.isversionof | 第七期 | |
| dc.subject | 馮夢龍 | |
| dc.subject | 改編劇 | |
| dc.subject | 戲劇理論 | |
| dc.subject | 當行 | |
| dc.subject | 本色 | |
| dc.subject.other | Ferng Meng-long | |
| dc.subject.other | adaptation | |
| dc.subject.other | dramatic theory | |
| dc.subject.other | distinctive character | |
| dc.subject.other | being an expert at drama | |
| dc.title | 馮夢龍改編劇語言之當行本色論 | |
| dc.title.alternative | A Study of Ferng Meng-long’s Adaptive Language in Librettos, Its Distinctive Character and Competence | |
| dc.type | 期刊篇目 | |
| dc.description.translationabstract | “Distinctive character＂and “being an expert at drama＂are two important concepts in dramatic criticism, and though their identifications of implied categories have not yet received the same conclusion historically, in general they contain diction, temperament, plot, structure, arena and other items. Most drama critics usually_x000D_ employ the two phrases to criticize drama, and Ferng Meng-long is also one of them._x000D_ In dramatic history, Ferng Meng-long's critical work about “distinctive character＂and “being an expert at drama＂ is not considered impressive by others. He is even suspected of imitating others' viewpoints. However, once we combine his_x000D_ critical work with his actual adaptations of drama, we can not but confess there is some excellent achievement in them._x000D_ At first, this article will discuss Ferng Meng-long's adaptive dramatic language into two parts:“songs in Chinese opera＂and “dialogue in Chinese opera ＂. Then I will consider “ songs in Chinese opera ＂ into four groups: “the character's speaking＂, “diction brand new and beautiful, not cliche＂, “describing things_x000D_ fluently and orderly＂ and “expressing feelings with concealed or implied deep meanings in variable ways＂to illuminate “distinctive character＂and “being an expert at drama＂. Furthermore, I will account for “distinctive character＂and “being an expert at drama＂, the feather of dramatic dictions from three points_x000D_ “according to the character's status＂, “fluent, lively, not crude＂ and “binding songs and actions＂, and finally discover the important value of Ferng Meng-long 's adaptive dramatic language within them. | |
| 分類: | 第07期 | |
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