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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 曾永義 | |
dc.contributor.author | Yi-Chun Tung | en |
dc.contributor.author | 董怡均 | zh_TW |
dc.date.accessioned | 2021-06-15T01:54:29Z | - |
dc.date.available | 2009-07-03 | |
dc.date.copyright | 2009-07-03 | |
dc.date.issued | 2009 | |
dc.date.submitted | 2009-06-30 | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/43401 | - |
dc.description.abstract | 元代是個既開放又封閉的時代。它的開放,表現在對宗教的寬容;而封閉,則表現在其種族階級歧視政策上。故在這一個特殊的時代裡,原本只活躍於民間的戲劇開始受到文人的重視,眾多文人為逃避現實環境中的不得志而轉身將自我沈浸於戲曲的創作中。加上當時社會黑暗,貪官污吏橫行,百姓亦生活於水深火熱的痛苦之中,遂開始將心靈寄託於宗教以尋求解脫。在此多種因素的融合下,元代的宗教類雜劇創作因而大量勃興,內容更以搬演神仙下凡度脫凡人以寄寓當時文人和百姓內心渴望的度脫劇為大宗。本論文之研究內容即在探討元代度脫類型雜劇的各個面向,試圖從宗教、文化、文學藝術、戲劇演出和文人創作心態的多重角度出發,深入分析此類盛行於元代的度脫類型雜劇其內部更深層的意義。
本文第一章主要探討關於元代「度脫劇」的名義範圍並針對度脫劇的固定劇情架構模式做出分析。 第二章則透過宗教的角度,認為度脫劇中除反映大量勸人戒除酒色財氣以成仙證真的全真道教義外,尚隱含諸多宗教意涵於其中。包括:道教思想由外丹學向內丹學的轉變痕跡;劇中神仙人物師徒傳承所反映出的道教神仙譜系與劇中佛道思想、人物混雜反映出當時民間信仰的駁雜。 第三章則藉由文學與藝術的角度闡述關於劇中豐富的神仙文學想像、極具戲劇張力度脫手法和道情曲藝為何於雜劇中轉以五、七言的形式出現?這轉變的脈絡又是如何?此外,科諢於戲劇中除具娛樂演出的功能外,在度脫劇裡,更有融入釋道內容來「打諢通禪」的表現。 第四章則藉由分析元代政治措施、社會環境著手,從文化層面來探討當時文人大量撰寫度脫劇之原因。除寄寓自身渴望超凡脫俗的思想於雜劇創作中外,實還隱含有當時文人或仕或隱心態的矛盾與掙扎。透過分析當時文人此種自我內心的衝突矛盾來闡釋戲劇所反映的時代精神。 | zh_TW |
dc.description.abstract | The Yuan dynasty was a period of intense contradictions between openness and intolerance. The spirit of openness, reached its highest expressions in tolerance for religious freedom; intolerance however was manifest in the social stratification on the basis of ethnic and national origins, and discriminatory policies. It is thus during those unique times, that what had originally been an art form prominent among the common people, suddenly began to receive the attention of the literati, many of whom sought an escape from the pressures and frustrations (especially the lack of opportunity to join the civil service because the civil service nationwide exams had been essentially banned) of their day to day lives through the escapism offered by retreat into the creative processes of composing and writing traditional operas. Adding to these motivations was the thoroughgoing lawlessness of the society and wanton corruption of officialdom and the bureaucracy, as the people lived a tormented life of uncertainty and desperate struggles to survive, naturally they sought to place their hopes for a better tomorrow in the comforting prospects of spiritual emancipation through faith. This multiplicity of factors synergized to yield the explosive growth in Yuan Dynasty opera creation, much of which emphasized the Taoist Dutuo religious themes of common concern to the ordinary people as to the literati seeking a means of expression for their desire for liberation through the guiding protection of the immortalized Taoist saints. This paper studies the lyrical content of the Yuan Dutuo opera style, as it developed in all of its aspects, applying multi-perspectival lens examining this popular religious art from the point of view of religious faith, culture, the literary arts, the operatic performing arts, and the deep motivations of her literary creators, to gain a profound understanding and appreciation of the deep structural meaning of Yuan Dynasty Dutuo opera.
The first chapter focuses on the conceptual definition and breadth of the repertoire of Dutuo Liberation Opera as well as analysis of its structural formalism.The second chapter examines things from the religious perspective, revealing the Dutuo opera thematic contents to be derived from the All True Taoism (Chuan Chen Taoism, Quanzhen Taoism, Zensha-Kyo ) ideologies regarding elimination of destructive human vices such as alcoholism, sexual immorality, and ostentatious living, through a contented simple life to yield salvation, showing that the operas contain a wide variety of popular theological concepts. Among these are included the footprints of the metamorphoses of the Taoist emphasis on the external martial arts to the inner meditative arts; and the themes of religious succession, dissent and legitimacy among authentic religious communities, as revealing the Taoist sectarian strife amidst Buddhist denominational divergence and the complexity of popular faith.The third chapter looks at the literary and arts expressions of the richly varied imagery of the immortal saints, and why the operatic aims to impart the means of emancipation through Taoist chanting are transformed into the literary forms of five and seven Chinese character religious and moral aphorisms? Additionally, besides the comedic role of buffoonery in opera, this aspect of the operas reveals the profound depth of the Tao of Laughter.The fourth chapter emphasizes the political and social environments against which the Yuan Dynasty culture was developing to explain the prominence of the literati class’ creation of Dutuo liberation librettos. Naturally while no doubt these works represent the intense personal struggles of their authors to engage and transform their innermost desires for freedom, they also manage to serve as the treasure chest vaults in which were hidden away the contemporary literati and intelligentsia’s contradictions and sense of frustration. Through analysis of the private and personal inner struggles of the literary classes to overcome their powerlessness against raging contradictions we hope to elucidate the spirit of the age as distilled from the liberation opera. | en |
dc.description.provenance | Made available in DSpace on 2021-06-15T01:54:29Z (GMT). No. of bitstreams: 1 ntu-98-R94121007-1.pdf: 2152968 bytes, checksum: dd6b6e5976fd971ed28bb74386359e45 (MD5) Previous issue date: 2009 | en |
dc.description.tableofcontents | 第一章緒論 …………………… 1
第一節 研究動機 ………………… 1 第二節 前人研究成果 …………… 4 第三節 研究素材與範圍 ………… 7 第四節 研究方法 ………… 9 第二章度脫劇之名義範圍與原型分析…… 13 第一節 前人雜劇分類述評 ……… 15 第二節 「度脫」一詞之含意與「度脫劇」之定義…… 22 一、「度脫」一詞之含意 …… 22 二、「度脫劇」之定義與分類 24 第三節 「度脫劇」劇目分類商榷 27 一、沙門島張生煮海 ………… 28 二、劉晨阮肇誤入桃源 ……… 30 三、花間四友東坡夢 ………… 33 四、龍濟山野猿聽經 ………… 35 第四節 「度脫劇」之劇情架構分析 …36 一、仙佛人物開場表明脫度緣由…… 38 二、仙界與凡界之強烈對比 … 40 三、由凡界通往仙界的試煉過程……… 44 (一)「捨離—>啟悟」的起始過程……… 45 (二)「死亡」與「再生」的蛻變過程…48 四、度脫成功後重返仙籍的美滿結局…… 54 第三章度脫劇裡的宗教意涵 … 59 第一節 度脫劇所反映的元代民間宗教觀…… 60 第二節 全真教之創立及其教義簡述 65 一、全真教之創立背景 ……………66 二、成仙證真的信仰鵠的 …………71 三、「澄心遣欲」的修道宗旨 ……73 四、出家苦行的修道方式 …………78 第三節 全真教與度脫劇之密切關係 80 一、酒色財氣的戒除 ………………81 二、苦行式的修道方式 ……………85 三、內丹修煉思想的轉變 …………88 第四節 道教中的神仙譜系 …………90 第五節 重要仙佛人物本事傳說 ……97 一、鍾離權之本事傳說 ……………97 二、呂洞賓之本事傳說 ………… 102 三、鐵拐李之本事傳說 ………… 107 四、藍采和之本事傳說 ………… 111 五、布袋和尚之本事傳說 ……… 114 第四章度脫劇的文學與藝術表現……117 第一節 充滿文學想像色彩的神仙法術……… 117 第二節 極具戲劇張力的度脫手法 121 一、借助夢境點化的度脫手法 … 122 二、幻境中遭災的度脫手法 …… 129 第三節 劇中道情藝術的展現 …… 131 一、道情的起源與發展 ………… 132 二、戲劇中道情所反映的時代特徵…… 137 三、元劇中之道情演唱方式 …… 142 第四節 插科打諢的戲劇娛樂演出 146 一、透過科諢來塑造人物鮮明的形象…… 148 二、透過俗語、雙關語等運用來製造科諢以達娛樂效 果 152 三、融入道釋內容以「打諢通禪」的科諢表現…… 156 四、藉由科諢的使用來調節戲劇氣氛…161 第五章戲劇時代精神的反映 …165 第一節 階級歧視下的蒙元政治 … 165 一、官吏的任用 ………………… 166 二、入仕的途徑 ………………… 169 第二節 文人或仕或隱或自我放逐的矛盾心態…… 176 第三節 美好仙界的嚮往與積極超脫現世的想像…… 185 第四節 劇作也為文人棄儒歸道心態的投射…… 187 第六章結論 …… 195 參考書目 ……203 | |
dc.language.iso | zh-TW | |
dc.title | 現存元代度脫劇研究 | zh_TW |
dc.title | Research on Contemporary Traditional Chinese Yuan Dynasty Dutuo Liberation Opera | en |
dc.type | Thesis | |
dc.date.schoolyear | 97-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 李惠綿,蔡欣欣 | |
dc.subject.keyword | 元雜劇,度脫劇,全真教,道情,打諢通禪, | zh_TW |
dc.subject.keyword | Yuan Dynasty Opera,Dutuo Opera,Taoist Chating,Taoist Meditation, | en |
dc.relation.page | 218 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2009-06-30 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 中國文學研究所 | zh_TW |
顯示於系所單位: | 中國文學系 |
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