元代戲曲人物性格美學

Esthetics on the Characteristics of the Traditional Opera in Yuan Dynasty

中國傳統戲曲自有其獨具特色的美學觀，傳統戲曲表演美學，向來重視人物形象的刻劃亦有其歷史根源。中國美學中極為突出的「人物畫」繪畫理論，於東晉時畫家顧愷之已提出「以形寫神」、「傳神寫照」等審美主張，其中的「神」即為對人物精神性格的刻劃。傳統戲曲既然是一種以「演員」透過「腳色」來扮飾劇中「人物」的表演體製，在戲劇人物的塑造方面，亦有其獨造的境界。本文援引亞里斯多德戲劇六大要素之一的「性格」概念，來分析人物性格在戲曲美學的內涵，企圖透過元代戲曲文本以印證中國戲曲美學論點。

The Chinese traditional opera has been known as its very unique sense of Esthetics while the performance focuses on the figures description with the historical source. The theory of painting on“figure painting”, which is extraordinarily outstanding concerning Chinese Esthetics provided that“the art of China conveys the spirit with the shape or images”and“makes finishing point vivid portrayal”by Gu Kaizhi, a well-known painter of Eastern Jin dynasty (317-420). More than the shape of figures, the painters focus on their spirit survey. In traditional operas, the actors play the characters on their own as whole. This study analyzes the characters' features in opera inner esthetics with one of six drama elements - character offered by Aristotle. and attempt to confirm Chinese opera aesthetics argument through the Yuan Dynasty opera text.