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drama theory
    The Evolution of "Ben se" in Drama Theory
    戏曲理论中“本色”之演进
    From Wang's Xi Xiang to Jin's Comments of Xi Xiang——Analysing the Standard of Appropriating Character's Language of Jin Shengtan's Drama Theory
    从《王西厢》到《金批西厢》——分析金圣叹戏曲理论之“立言之体”
    The Value of GUO Han-cheng's Traditional Drama Theory ——Reading GUO Han-cheng Collecction
    郭汉城的戏曲理论价值——读《郭汉城文集》
    Discussion of the Dislocation between Drama Theory and Create of Liyu
    试论李渔戏曲理论和创作实践的错位关系
    Their drama theories represented the highest achievements of the dynasty and reflected the developing process of Ming drama theory.
    他们的戏曲理论代表了明代戏曲理论的最高成就,反映了明代戏曲理论的发展轨迹;
    The research into this school can further crystallize the history of drama theory history of both Qing and Ming Dynasty and promote people's understanding and discovery of this school.
    对越中派的研究,有利于进一步梳理澄清明代戏曲理论史和戏曲文学史发展的脉络和轮廓,并促进人们对该派的了解和发现。
    The second section is about drama theory of Yuezhong school.
    二.越中派的戏曲理论
    The section summarizes and demonstrates the major points of the drama theory of Yuezhong school from the angle of development and association and researches into the relationship between the dispute in the drama theory circle of Ming Dynasty, the social thinking trends and drama writing.
    这一部分概括和阐述了越中派戏曲理论的主要观点,并从发展和联系的角度考察了越中派戏曲理论的发展轨迹及其与明代戏曲理论界的论争、社会思潮、戏曲创作的关系。
    The major points of drama theory can be summarized as the theory of prototype, the theory of trait of work and the theory of drama history.
    文中对越中派戏曲理论观点主要概括为三部分:本色论、当行论和戏曲史论。
    His drama theory is of penetrating judgment in writing partition and writing method of drama, and shouldn't be negligible part in the history of drama theory.
    其戏曲理论立足于自身的戏曲创作实践,侧重于戏曲文本创作方法的探讨,有不少真知灼见,在戏曲理论史上有一席之地。
    From the traditional and modern players'practice in the above three periods, with the new ideas and improvement, this dissertation analyses drama theory's primary success and failure.
    本文即是立足于这三个时期,并以此为宏线,附之以传统伶人和新剧人的演剧实践,突出新思想、新发展,并对各个时期戏曲理论的得失成败加以粗浅评析。
    Chapter Three is the classification study on Li' s drama theory with the aesthetic ideology of drama. The drama theory is divided into four parts including the functional theory, the theory of creation, the structure theory and the theory of language.
    第三章以戏曲作为文学的审美意识形态性质对李调元的戏曲理论作了分类研究,包含戏曲功能论、创作论、结构论、语言论等四个方面。
    The conclusive part evaluates Li Tiaoyuan's drama theory with the value in the history and influence of academia.
    结语阐述了李调元的戏曲理论在文学史上的价值和对学术界所带来的影响。
    Besides, Li Kaixian’s drama theory is evaluated in this thesis.
    本文另一重点是对李开先戏曲理论加以评介。
    By taking Li Kaixian’s creating experience and relevant documents into consideration, the author thinks that Li Kaixian’s drama theory includes his cognition of the following four aspects: characteristics of drama, evaluation criteria of drama creation, common drama conception, and social functions of drama.
    结合李开先的创作实践和相关序跋,本文认为李开先的戏曲理论包括他对曲体特质、戏曲创作评价标准、通俗戏曲观及戏曲社会功能等四个方面的认识。
    Li Yu's dramatic reception theory of stressing the popularization had not only the value of establishing the drama theory but also the practical significance of rectifying mistake.
    李渔崇尚通俗的戏曲接受观不仅具有建构戏曲理论的价值 ,而且具有匡时济俗的现实意义。
    His dramatic theory was a comprehensive expression of the rich practice experience himself and the drama theory of Chinese ancient, could reveal the universal dialectic of the drama about the writing, the structure, the subject, the words of song, the creating, the spoken parts in the drama, the directing and the performing, interpreted his original view minutely, embodied his dramatic theory with the quality of the artistic philosophy and the creative value of the aesthetics, had a positive significance in promoting the progression of the ancient drama.
    他的戏曲理论集自己丰富的戏曲实践经验和古代戏曲理论之大成,能够从作法、结构、题材、曲文、填词、宾白、导演、搬演等方面揭示戏曲的普遍辩证规律,详细阐明自己的独到见解,充分体现了他的戏曲理论具有艺术哲学性质和美学创造价值,对促进古代戏曲的健康发展有着积极意义。
    "Ben se" is an important concept in Chinese drama theory.
    “本色”是中国戏曲理论中的一个重要概念。
 

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