戲曲演進史：金元明北曲雜?。ㄈ?上）

丁 金元明北曲雜劇編
序 說·····················································································3
 
第一章 北曲雜劇之淵源、形成與分期 ··········································6
引 言 ··················································································· 6
一、小戲群源生期“金院本” ····················································· 12
二、小戲發(fā)展轉型過渡大戲期“金院么” ······································ 16
三、大戲形成始興期“金蒙么末” ··············································· 24
四、北方大戲大盛期“蒙元么末與元雜劇” ··································· 26
五、大戲南北全盛期“元雜劇” ·················································· 29
六、大戲衰落期“元雜劇” ························································ 33
七、大戲余勢期“明初北曲雜劇” ··············································· 36
結 語 ·················································································· 38
 
第二章 蒙元北曲雜劇之背景 ···················································· 41
一、蒙元之政治社會 ································································ 41
二、蒙元文人之遭遇 ································································ 48
三、蒙元之藝文理論與曲詞之特質·············································· 51
四、蒙元之宗教、交通、商業(yè)與雜劇之興盛·································· 72
 
第三章 元代北曲雜劇之劇目、題材與內(nèi)容 ·································· 76
一、劇目著錄 ········································································· 76
二、題材類型 ········································································· 77
三、內(nèi)容特色 ········································································· 85
四、語言運用：從戲曲語言說到北劇語言····································· 90
 
第四章 蒙元北曲雜劇流布之六大中心及其作家作品簡述 ···············102
引 言 ················································································ 102
一、中州雜劇之作家與作品 ····················································· 102
二、大都雜劇之作家與作品 ····················································· 104
三、真定雜劇之作家與作品 ····················································· 109
四、平陽雜劇之作家與作品 ······················································117
五、東平雜劇之作家與作品 ····················································· 128
六、杭州雜劇之作家與作品 ····················································· 132
結 語 ················································································ 142
 
第五章 北曲雜劇之理論述評：從元代到明初 ······························144
引 言 ················································································ 144
一、胡祗遹等之“零金片語” ··················································· 145
二、芝庵《唱論》 ·································································· 149
三、周德清《中原音韻》 ························································· 155
四、鐘嗣成《錄鬼簿》與賈仲明《錄鬼簿續(xù)編》 ··························· 166
五、夏庭芝《青樓集》 ···························································· 182
六、明人《太和正音譜》之作者問題及其曲論····························· 191
結 語 ·················································································211
 
第六章 蒙元北曲雜劇之藝術成分與搬演過程 ······························213
引 言 ················································································ 213
一、北曲雜劇外在結構“體制規(guī)律”之淵源與形成······················· 213
二、北曲雜劇的劇場與劇團 ····················································· 220
三、北曲雜劇之穿關與妝扮 ····················································· 237
四、元代北曲雜劇之樂曲、樂器與科白······································ 253
五、元代北曲雜劇內(nèi)在結構“排場”之概念與舉例······················· 271
六、元代北曲雜劇搬演前后及其過程········································· 279
結 語 ················································································ 297