浅论古代戏曲身份认同的现实本源施展与冲突--以李渔的古代戏曲身份认同为视角

摘要

Chinese opera is an art with Chinese national flavors. Seen as "tiny arts" and "trivial technique"by feudal dominating classes and frequently suppressed or forbidden by them through state will and legal means, Chinese opera was excluded from the hall of literary arts. Since Song dynasty, many scholars with far sights struggled for the status of opera, with which is endless realistic fundamental expansion and conflicts of opera identity. The identity of Li Yu at the turn of Ming and Qing dynasties is a typical case. Overcoming hard life of"poor bone","famine years"and"literature as a trade", Li Yu faced squarely the expansions and conflicts and devoted the rest of his life to the identity of opera. Such identity laid solid theoretical foundations and provided sufficient conditions for Wang Guowei's establishment of opera as a discipline.%戏曲是中华民族独特的艺术。由于封建统治阶级视戏曲为“小道”、“末技”，常常依仗国家意志和法律手段对戏曲动辄排斥或者禁毁，使得戏曲难以登阶入室，跻身文学艺术大家庭的殿堂。自宋代以来，有识之士不遗余力地为戏曲呐喊、正名，戏曲身份认同的现实本源施展与冲突绵延不绝。其中，明末清初的李渔是戏曲身份认同的现实本源施展与冲突中的典型事例。李渔克服“穷骨”、“恶岁”、“砚田糊口”的生存困境，敢于直面戏曲身份认同的现实本源施展与冲突，为戏曲身份认同矢志不渝地贡献了毕生精力。古代戏曲身份认同为近世王国维为戏曲正名奠定了深厚的学理基础，创造了充分的条件。