李漁 戱曲의 通俗性 ― 그 商業性과 觀衆指向을 중심으로 = The Popularization of Li Yu's Dramas

다국어 초록 (Multilingual Abstract)

On the study of Chinese classic dramas, it has been a fashion to study Li Yu's dramas. For instance, scholars from America, Japan, Korea show great interest in him. They have contributed many valuable articles. But there is great controversy over the evaluation of him among intellectuals. They criticized him mainly for two reasons: One is Li Yu's unusual career, especially his commercialized and other special activities as a professional dramatist; the other is the inconsistency of his dramatic theory and dramatic works. According to me, one problem lies in the fashion. That is most of his reviewers focus exclusively on his dramatic theory so that they neglect his dramas. This thesis attempts to reevaluate Li Yu's career, dramas and dramatic theory from the point view of the popularization of his works. It falls into three chapters. Popularization is a changing　 relative concept rather than a fixed　 absolute one. It's exemplified by three relationships: the relationship between the writer and his works, the relationship between the readers and the works, and the inner relationship of the works themselves. To make it clear, I will explain one by one. The first relationship refers to the way in which the author convey his emotions. In popular literature, those emotions are easy to discern. The second relationship emphasizes the effects the works have on their readers. As a means of recreation and leisure, popular literature makes people abandon thinking and fall prey to desires by providing them stimulus and comforts. The last relationship is about the forms and techniques of the works. Usually the language in them is conversational and formulaic; the plot develops through a series of suspension and accidents; the characters are stereotyped due to random changes. The first chapter includes Li Yu's career as a popular dramatist and an evaluation of him. Being a professional dramatist, he writes to earn a living rather than seeking political posts. His works are destined to amuse readers and audience, so it would be difficult to understand his career as a dramatist without taking into consideration the commercial objectives of his works. Also in this chapter, I try to give him a more impartial judgement by studying the social and cultural background, the inner situation of theatrical circles, at that time and a thorough assessment of him. The second chapter is about Li Yu's Shizhongqu. In order to commercially succeed, Li Yu always sets his mind on audience and stage, the two key elements of all his dramatic writings. This chapter also studies the various features of Shizhongqu through an analysis of unexpected plots, complicated structures and characters, conversational language, simple lines and intricate stage. The third chapter is a discussion of Li Yu's dramatic theory. Inspired by the most widely accepted theory of Drama Art at that time, he develops his own ideas about the writing of dramas and stage performance from his own experiences. Since he is a professional dramatist, his dramatic theory comes from his commercialized activities. With offering people pleasure as its principle, Li Yu's dramatic theory centers around the audience and the stage, aiming for fun and popularization. This paper gives a detailed account of how Li Yu arouses and keeps the audience's interests, how he forms and puts into use the theory of stage performance by studying the backgrounds and purpose of his dramatic theory as well as his well known xianqingouji(《閒情偶寄》). Therefore, Li Yu's career, his dramas and dramatic theory are in fact in agreement with each other when seen from the point view of the popularization of his works, which in turn shows the possibility of judging him from that point of view. Thus my purpose of going through his career, dramas and dramatic theory through popularization has been fulfilled.

목차 (Table of Contents)

• 1. 들어가는 말
• 2. 李漁 文藝活動의 觀衆 指向
• 3. 李漁 十種曲의 觀衆指向
• 4. 李漁 戱曲理論의 觀衆指向
• 5. 맺는 말
• <參考文獻>
• ABSTRACT