中国传统戏曲中吝啬鬼形象 = A portrayal of the miser in Chinese opera

• Main Author: 冯薪安 Foong, Shin Ann
• Other Authors: Crossland-Guo Shuyun
• Format: Final Year Project
• Language: Chinese
• Published: 2009
• Subjects: DRNTU::Humanities::Literature::Chinese
• Online Access: http://hdl.handle.net/10356/15013
• Institution: Nanyang Technological University

中国传统戏曲中以吝啬鬼为题材的甚多，对于人物的悭吝习性也作了许多经典刻画。本文主要通过三个不同时期的文本：元杂剧 《看钱奴买冤家债主》、《布袋和尚忍字记》、明传奇《一文钱》和清代小戏《借靴》，集中探讨吝啬类型之人物形象，并研究以吝啬鬼作为题材的戏曲具有的特点及其所反映当时社会的精神面貌。本论文第一章将从形貌上、心理上和社会层面上来分析吝啬鬼类型之人物。第二章通过传统戏曲的行当体制来阐述吝啬鬼在舞台上所呈现的滑稽艺术特点。此外，论文也将剖析以吝啬鬼作为题材的戏曲故事脉络与人物间的冲突。第三章追溯吝啬鬼题材戏曲与佛教经文故事的关系。最后讨论这类戏曲的社会性与功能性。论文理出，戏曲艺术将吝啬鬼形象深刻化，从中折射出中国文化的特性 ，尤其是市井文化。戏曲中一个个的吝啬鬼形象，给观众带来了丰富的艺术享受以及深远的理性思考。In traditional Chinese drama, the topic of miser character appears often. This thesis investigates the image of miser characters revealed in selected Chinese traditional drama from different periods. These dramas under study are the Yuan dramas Kanqiannu Mai Yuanjia Zhaizhu and Budai Heshang Ren Zi Ji, Ming drama Yi Wen Qian and Qing drama Jie Xue. Chapter one examines the psychological state and social status of the miser characters appear in the drama. In chapter two, emphasis will be given to the role of clowns and their operatic and artistic features. The tension between these miserly figures and other characters in relation to the plot will be examined. Chapter three provides an account of the image of the miser characters in operas related to Buddhism and Taoism. Finally, chapter four scrutinizes the social function of these traditional dramas, all with the miser as the main character in the story. In conclusion, I argue that operatic performance has preserved and heightened the image of the miserly character in the traditional drama, and the audience is able to appreciate drama better from such characterization.