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題名:兩個不同世界的碾玉觀音
書刊名:華岡藝術學報
作者:劉效鵬
作者(外文):Liu, Shaw-peng
出版日期:2000
卷期:5
頁次:頁150-176
主題關鍵詞:姚一葦劇本碾玉觀音話本
原始連結:連回原系統網址new window
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  • 被引用次數被引用次數:期刊(0) 博士論文(0) 專書(2) 專書論文(0)
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  • 點閱點閱:34
     姚一葦之劇本<<碾玉觀音>>,雖取材於宋人小說,但在形式與內容上 均有不同,儼然兩個世界。 首論話本,它來自口傳文學系統,非某一人所獨創,可能在南宋末年, 已流傳於職業書場,經馮夢龍之手,輯入<<警世通言>>。自一六二四年刊行 以來,倖存至今。話本以書寫文字流傳給知識分子閱讀,而說書人以其獨 特表演方式傳達給觀眾,又成為當時社會下階層、弱勢族群的代言人。崔 寧和秀秀之悲劇,主因於特定社會邏輯,再加上命運促成,話本一方面強 調不滅的情愛力量,控訴不公,但另一方面又維繫了既存社會秩序。 次言劇本,姚一葦強調只借助宋人小說為框子,注入他自己的思想情 感。其戲劇時間為十五年又兩個月,地點轉換三次,動作包括私奔、生離、 重逢與死別=經歷不同的身份和角色,不斷轉變情感與處事的態度,而崔 寧則不改其志,惟其所獲者為何﹖ 其悲劇肇因於人物性格,外在因素則無關緊要,最後總結兩個作品的 根本差異。
     Although the drama `Jade Kuan-Yin' written by Prof. Yao, I-Wei is adopted from the novel in Sung Dynasty, its form and content are quite different as two worlds. First, the text is to discuss the story-telling, which comes out from oral tradition and is not created only by someone. Perhaps it has been transmitted into professional story-telling place in the end of Southern Sung Dynasty and edited by Feng Meng Lung into the novel `General Speaking for Warning Manking" which luckily exists now since it was published in 1624. The storytelling by way of literary form was spread for intellectuals' reading, and relatively the storyteller uses his unique way of performance to transmit it to audience, who becomes the mouthpiece of down level and minority in that society. The tragedy of Tsui Ning and Hsiu Hsiu is because of the logic of certain and aid by destiny. One hand, the language version focuses on the lasting power of love to charge the unfairness, and on the other hand it maintains the existing order of society. Next, the text is to discuss the drama. Prof. Yao, I-Wei emphasizes he just recurs the frame of the novel form Dynasty Sung but pour his own thinking and feeling. The time for the drama is 15 years and two months, and the place is changed for three times. As to the action included such four turns in life as elopement, separation, meeting and death. Due to the writer change the inter-personal relation, thus the class opposition is not existing. Hsiu Hsiu experienced different positions and roles who changed her feeling and attitude toward dealing with others continuously. And Tsui Ning still did not change his mind, however, what was he got after all ﹖ The tragedy is caused by the person's character without concern with outside factor. Finally, the text concludes the fundamental difference.
期刊論文
1.胡萬川(19760600)。馮夢龍所編話本小說「三言」的版本與流傳。中華文化復興月刊,9(6),71-80。  延伸查詢new window
2.馬幼垣、周昭明(19780400)。中國職業說書的起源--對當前理論與證據之評騭。中外文學,6(11),140-156。new window  延伸查詢new window
3.姚一葦(1993)。劇本與演出之間─寫在碾玉觀音重演之前。表演藝術,6。  延伸查詢new window
圖書
1.羅燁(1958)。醉翁談錄。臺北:世界書局。  延伸查詢new window
2.Jung, Carl G.(1983)。人類及其象徵。臺北。  延伸查詢new window
3.Charless, Peirce。Collected Papers。Cambridge, Massachusetts。  new window
4.夏志清(1968)。The Classic Chinese Novel: A Critical Introduction。Bloomington:Indiana University Press。  new window
5.瞿同祖(1978)。中國法律與中國社會。臺南:僶勉出版社。new window  延伸查詢new window
6.長孫無忌(1996)。唐律疏議。北京:中華書局。new window  延伸查詢new window
7.Elam, Keir、王坤(1998)。符號學與戲劇理論。臺北:駱駝出版社。  延伸查詢new window
8.姚一葦(1975)。姚一葦戲劇六種。臺北:華欣文化事業中心。  延伸查詢new window
9.樂蘅軍(1969)。宋代話本研究。臺北:國立臺灣大學文學院。  延伸查詢new window
10.胡萬川(1994)。話本與才子佳人小說之研究。大安出版社。new window  延伸查詢new window
11.樂蘅軍(19920000)。意志與命運:中國古典小說世界觀綜論。臺北:大安。new window  延伸查詢new window
12.馬幼垣(1980)。京本通俗小說各篇的年代及其真偽問題。中國小說史集稿。臺北。new window  延伸查詢new window
13.孫述宇(1980)。碾玉觀音裡的中興名將史料。中國古典小說研究。臺北。  延伸查詢new window
14.Hanan, PatricK(1979)。宋元白話小說:評近代繫年法。韓南中國古典小說論集。臺北。  延伸查詢new window
15.胡萬川(1994)。京本通俗小說。話本與才子佳人小說之研究。臺北。  延伸查詢new window
16.Barthes, Roland(1974)。SZ trans Richard miller。New York:Hilland Wang。  new window
17.Pfister, Manfred(1994)。The Theory and Analysis of Drama, trans。The Theory and Analysis of Drama, trans。Cambridge。  new window
18.(明)馮夢龍(1957)。警世通言、碾玉觀音。警世通言、碾玉觀音。臺北。  延伸查詢new window
19.Charles, A.、Maria-Odilia Leal McBridge(1979)。Aususto Boal theatre of the Oppressed trans。Aususto Boal theatre of the Oppressed trans。New York。  new window
20.Lawson, John Howard(1949)。Theory and Technique of playwriting and Screen Writing。Theory and Technique of playwriting and Screen Writing。New York。  new window
21.姚一葦(1969)。戲劇時空觀。戲劇論集。  延伸查詢new window
22.Fromm, E.(1972)。自我追尋。自我追尋。臺北。  延伸查詢new window
23.mFordha, Frieda(1990)。榮格心理學。榮格心理學。臺北。  延伸查詢new window
其他
1.戴(1965)。禮記,臺北。  延伸查詢new window
2.(周)左丘明(1965)。左傳,臺北。  延伸查詢new window
3.姚一葦(1993)。碾玉觀音斷想,臺北。  延伸查詢new window
4.(1982)。姚一葦戲之種再版自序一回首幕帷深,臺北。  延伸查詢new window
5.俞大綱(1956)。舞臺傳統的延伸,臺北。  延伸查詢new window
圖書論文
1.增田涉(1981)。論「話本」一詞的定義。中國古典小說研究專集。臺北:聯經出版事業公司。  延伸查詢new window
 
 
 
 
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