戏曲演进史：金元明北曲杂剧（三 上）

　　《戏曲演进史》是曾永义教授以剧种的演进为骨架，参照诸多文献资料与底本，编成的鸿篇巨制，全面阐述了中国戏曲的演进过程，被认为“完善了一代之学的内涵和外延”，是该领域的标志性著作。 本书为《戏曲演进史》的“金元明北曲杂剧编”之前十三章。各章具体内容依次为：第一章“北曲杂剧之渊源、性成果与分期”、第二章“蒙元北曲杂剧之背景”、第三章“元代北曲杂剧之剧目、题材与内容”、第四章“蒙元北曲杂剧流布之六大中心及其作家作品简述”、第五章“北曲杂剧之理论述评：从元代到明初”、第六章“蒙元北曲杂剧之艺术成分与搬演过程”、第七章“所谓‘元曲四大家’”、第八章“关汉卿研究及其展望”、第九章“关汉卿杂剧述评”、第十章“马致远杂剧述评”、第十一章“白朴、郑光祖杂剧述评”、第十二章“乔吉及其他作家述评”、第十三章“今本《西厢记》综论”。

　　曾永义（1941—2022），台湾台南县人。台湾大学文学博士，“中研院院士”。长年从事戏曲、俗文学、韵文学、民俗艺术的维护发扬与教学研究工作。曾在哈佛大学燕京学社、斯坦福大学、香港大学、北京大学、中国戏曲学院等知名学府客座讲学或访问合作。出版《戏曲学》《戏曲剧种演进史考述》《戏曲演进史》等戏曲研究类学术著作20 余部，创作戏曲剧本22 种。被誉为当代戏曲研究的“中流砥柱”，其《戏曲演进史》被认为“完善了一代之学的内涵和外延”，是该领域的标志性著作。

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