戏曲演进史：金元明北曲杂剧（三 上）

丁 金元明北曲杂剧编
序 说·····················································································3
 
第一章 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