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、小戲發展轉型過渡大戲期“金院麼” ······································ 16

三、大戲形成始興期“金蒙麼末” ··············································· 24

四、北方大戲大盛期&ldqu雜劇” ··································· 26

五、大戲南北全盛期&ldq雜劇” ·················································· 29

六、大戲衰落期&ldq雜劇” ························································ 33

七、大戲餘勢期“明初北曲雜劇” ··············································· 36

結 語 ·················································································· 38

第二北曲雜劇之背景 ···················································· 41

之政治社會 ································································ 41

文人之遭遇 ································································ 48

之藝文理論與曲詞之特質·············································· 51

之宗教、交通、商業與雜劇之興盛·································· 72

第代北曲雜劇之劇目、題材與內容 ·································· 76

一、劇目著錄 ········································································· 76

二、題材類型 ········································································· 77

三、內容特色 ········································································· 85

四、語言運用：從戲曲語言說到北劇語言····································· 90

第四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