摘要
明代汤显祖创作的《牡丹亭》从闺塾里的规训与叛逆开始,交代人物所处的环境及人物的性格基调,为后面的故事发展奠定基础。之后在杜丽娘“游园惊梦”和柳梦梅“拾画叫画”这两组重要戏剧场境中构建了多重空间:从实景花园到个人诠释下的花园情境,从书画空间到个人诠释下的情欲空间,通过借用中国传统兴感抒情模式和古代山水园林审美习惯进行空间叙事,通过描摹空间、诠释空间、幻化空间等方式构建戏剧情境,并以此推进情节发展,刻画人物心理,呈现出剧作家在空间叙事上的独特艺术风貌。
The play The Peony Pavilion(Mu-dan-ting)created by TANG Xianzu,a Chinese dramatist in Ming Dynasty,narrates from the discipline and rebellion in the Girls’private school,sets the environment and the tone for the characters,and lays the foundation for the development of the following plots.And then,multiple spaces are constructed in DU Liniang’s“garden dream”(You-yuan Jing-meng)and LIU Mengmei’s“picking up DU’s portrait and his self-murmuring to the portrait”(Shi-hua Jiao-hua).That is,the spaces transfer from the real garden to the garden settings under personal interpretations and from the calligraphy and painting space to the erotic space in personal interpretations.Thus the spatial narrative was carried out by adopting the traditional Chinese mode of expressing feelings and the aesthetic habits of ancient landscape gardens to develop the plot,to depict the characters and thus to present the playwright's unique artistic style by constructing the dramatic settings with the depiction,interpretation and illusion of the space.
作者
庄清华
郭旗
ZHUANG Qinghua;GUO Qi(School of Liberal Arts,Jimei University,Xiamen,Fujian 361021,China)
出处
《贵州大学学报（艺术版）》
2021年第6期38-44,共7页
Journal of Guizhou University Art Edition
关键词
《牡丹亭》
叙事空间
诠释
情境
The Peony Pavilion
narrative space
interpretation
setting
