包邮戏曲演进史三:金元明北曲杂剧(上)

丁 金元明北曲杂剧编 序 说·····················································································3 **章 北曲杂剧之渊源、形成与分期 ··········································6 引 言 ··················································································· 6 一、小戏群源生期“金院本” ····················································· 12 二、小戏发展转型过渡大戏期“金院么” ······································ 16 三、大戏形成始兴期“金蒙么末” ··············································· 24 四、北方大戏大盛期“蒙元么末与元杂剧” ··································· 26 五、大戏南北全盛期“元杂剧” ·················································· 29 六、大戏衰落期“元杂剧” ························································ 33 七、大戏余势期“明初北曲杂剧” ··············································· 36 结 语 ·················································································· 38 第二章 蒙元北曲杂剧之背景 ···················································· 41 一、蒙元之政治社会 ································································ 41 二、蒙元文人之遭遇 ································································ 48 三、蒙元之艺文理论与曲词之特质·············································· 51 四、蒙元之宗教、交通、商业与杂剧之兴盛·································· 72 第三章 元代北曲杂剧之剧目、题材与内容 ·································· 76 一、剧目著录 ········································································· 76 二、题材类型 ········································································· 77 三、内容特色 ········································································· 85 四、语言运用：从戏曲语言说到北剧语言····································· 90 第四章 蒙元北曲杂剧流布之六大中心及其作家作品简述 ···············102 引 言 ················································································ 102 一、中州杂剧之作家与作品 ····················································· 102 二、大都杂剧之作家与作品 ····················································· 104 三、真定杂剧之作家与作品 ····················································· 109 四、平阳杂剧之作家与作品 ······················································117 五、东平杂剧之作家与作品 ····················································· 128 六、杭州杂剧之作家与作品 ····················································· 132 结 语 ················································································ 142 第五章 北曲杂剧之理论述评：从元代到明初 ······························144 引 言 ················································································ 144 一、胡祗遹等之“零金片语” ··················································· 145 二、芝庵《唱论》 ·································································· 149 三、周德清《中原音韵》 ························································· 155 四、钟嗣成《录鬼簿》与贾仲明《录鬼簿续编》 ··························· 166 五、夏庭芝《青楼集》 ···························································· 182 六、明人《太和正音谱》之作者问题及其曲论····························· 191 结 语 ·················································································211 第六章 蒙元北曲杂剧之艺术成分与搬演过程 ······························213 引 言 ················································································ 213 一、北曲杂剧外在结构“体制规律”之渊源与形成······················· 213 二、北曲杂剧的剧场与剧团 ····················································· 220 三、北曲杂剧之穿关与妆扮 ····················································· 237 四、元代北曲杂剧之乐曲、乐器与科白······································ 253 五、元代北曲杂剧内在结构“排场”之概念与举例······················· 271 六、元代北曲杂剧搬演前后及其过程········································· 279 结 语 ················································································ 297