| 贾三强.明代陕西戏曲创作与表演述论[J].陕西学前师范学院学报,2017,33(6):73-78 |
| 明代陕西戏曲创作与表演述论 |
| A Study on the Creation and Performance Developments of Shaanxi Operas in Ming Dynasty |
| 投稿时间：2017-02-01 |
| DOI：10.11995/j.issn.2095-770X.2017.06.017 |
| 中文关键词: 明代 陕西戏曲 康海 王九思 杂剧 传奇 |
| 英文关键词: Ming Dynasty Shaanxi Operas Kang Hai Wang Jiusi Zaju Chuanqi |
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| 中文摘要: |
| 本文对明代陕西地区的戏曲发展状况做了描述，并且对各种戏曲现象进行了分析。认为陕西在明代虽然已不再是中国戏曲创作与表演的中心，但是戏曲活动仍非常繁盛，变体杂剧中独折戏便始于陕西，而杂剧家中的康海、王九思无疑属明代戏曲大家。晚明时以昆山腔为代表的传奇在陕西亦有相当成就。秦腔的出现，更是开中国戏曲花部乱弹之先河。 |
| 英文摘要: |
| This article studied the development status and cases of various Shaanxi Operas in Ming Dynasty. The author thought that Shaanxi Operas had created many widespread activities even it was no longer a Chinese operas creation center. For instance, the Solo Play in Transitional Zaju was started from Shaanxi Dramas. And Kang Hai, Wang Jiusi were the most famous Zaju writers in Ming Dynasty. The Chuanqi Writing Style of Kunqu Opera was also achieved greatly in Shaanxi in the late Ming Dynasty. What’s more, the emergence of Qinqiang Opera was even proved the start of flourishing stage of Chinese operas since then. |
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