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李漁的無聲戲理論與話本的戲劇化特徵
Author(s)
Date Issued
2009
Journal
ISSN
1000-260X
Citation
深圳大學學報(人文社會科學版), 2009, 第1期, 頁107-111.
Type
Peer Reviewed Journal Article
Abstract
李漁認為話本為無聲的戲劇,那麼他對戲劇劇本的認識同樣適用於話本,用他的戲劇理論觀照其話本創作,我們發現他的話本帶有鮮明的戲劇化特徵,結構集中緊湊,針線細密,語言通俗易懂,務求肖似,注重喜劇情境的創作.
Li Yu thinks huaben is silent drama, so his understanding of theatrical scripts can also be applied to huaben. When examining his creative writing of huaben through the looking glass of his theatrical theory, we will find that his huaben is marked by vivid theatrical characteristics, for instance, its well-knit structure, and its closely woven narrative threads, its simple language, its concern with resemblance and its creation of comic situations.
Li Yu thinks huaben is silent drama, so his understanding of theatrical scripts can also be applied to huaben. When examining his creative writing of huaben through the looking glass of his theatrical theory, we will find that his huaben is marked by vivid theatrical characteristics, for instance, its well-knit structure, and its closely woven narrative threads, its simple language, its concern with resemblance and its creation of comic situations.
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