宋代傀儡戏研究

发布时间：2018-05-15 22:35

本文选题：宋代 + 傀儡戏　；参考：《首都师范大学》2007年博士论文

【摘要】： 傀儡,是指以具有可塑性的材质制作而成,可以被外力操控而动的拟人形物。傀儡戏,是指傀儡师操纵傀儡,使之做出的体现他预定意图的表演。广义的傀儡戏包括以傀儡进行的歌舞、戏曲、百戏、仪式戏剧等。本文更多地采用其狭义的内涵,即以傀儡代言角色,进行一个既定故事的表演。我国的傀儡戏自汉代初现端倪,唐代渐趋完善,至宋代则呈现出大盛的局面。宋后,在戏曲的强势冲击下,傀儡戏盛景不再,但它并没有绝对地衰落,甚至消亡,而是依附于戏曲、民俗等载体之上,顽强地生存至今。本文研究的对象是宋代傀儡戏。全文分五章: 第一章讨论傀儡戏的源流。辨析前人几种傀儡戏起源观,提出自己的“民间游戏说”;并指出其形成于南北朝时期;以时间为序,简述中国傀儡戏由隋唐至今的发展历程。第二章梳理有关宋代傀儡戏的文献及文物资料,并逐条加以简评。拣摘相关史籍笔记资料二十九条;对十一种傀儡戏文物进行述评。第三章研究宋代傀儡戏的物理形态,论证杖头傀儡是由唐宋时的“磨合罗”演化而来;药发傀儡是以某种机械装置提供动力,在预设的轨道上表演预定动作的傀儡形态;肉傀儡是以小儿后生模仿杖头、悬丝傀儡而来,所以具有两种形态;影戏的远源是唐代的俗讲变文,于北宋初期逐渐成形,它与我国早期的“弄影巫术”并无关系,其本质上应是一种动画戏。第四章分析宋代傀儡戏的艺术形态以及繁盛原因。考证宋代傀儡戏可能采用的器乐、歌唱及剧本的文学形态;逐一分析政治、经济等可能造就宋代傀儡戏盛景的因素;指出鲍老的形象是由小儿或侏儒佩戴面具,模仿老年人的动作,主要特点是滑稽,戏剧的成分并不多。宋代人将鲍老归入傀儡的行列,说明当时傀儡戏已经非常深入日常生活,也可作为宋代傀儡戏繁盛的一个佐证。第五章探讨宋代傀儡戏与中国古典戏曲发生之间的关系。在对几种戏曲起源理论简要辨析之后,用一定篇幅对孙楷第先生所提出的“傀儡说”进行阐述、辨讹以及补正。并在此基础上,对中国戏曲发生的时间和构成要素分别展开论述。最后以模式猜想的形式阐明自己的观点:我国戏曲萌芽于南北朝,起源于唐代,最终形成于两宋时期。应该从两方面来评价戏曲的形成,一是其艺术源头,分别可从其音乐、文学、表演等角度考得,是多元而不是单一的,宋代傀儡戏在其中地位重要;而将这些形式要素与内容要素综合在一起的客观条件,就是宋代文化市场的形成和不断的完善。
[Abstract]:Puppets are humanoid objects made of plastic materials that can be manipulated by external forces. A puppet play is a performance by which a puppet master manipulates a puppet and makes it manifest his intended intention. In a broad sense, puppetry includes singing and dancing with puppets, opera, drama, ritual drama and so on. This paper adopts its narrow meaning, that is, acting as a puppet character. Since the beginning of the Han Dynasty, the puppet drama of our country appeared, and gradually improved in the Tang Dynasty, and then appeared the situation of the great prosperity in the Song Dynasty. After the Song Dynasty, under the strong impact of the opera, the puppet play was no longer prosperous, but it did not absolutely decline, or even die out, but attached to the opera, folklore and other carriers, tenaciously survive up to now. The object of this paper is the puppet play of the Song Dynasty. The full text is divided into five chapters: The first chapter discusses the origin of puppet drama. This paper analyzes the origin of several puppet operas, puts forward his own "folk game theory", and points out that it was formed in the Southern and Northern dynasties. In the order of time, the development of Chinese puppet drama from Sui and Tang dynasties to the present is briefly described. The second chapter combs the literature and cultural relics of puppet drama in Song Dynasty, and reviews them one by one. Select 29 related historical notes and review 11 kinds of puppet play relics. The third chapter studies the physical form of the puppet drama of the Song Dynasty, demonstrates that the puppet at the head of the staff evolved from the "run-in" in the Tang and Song dynasties, and that the puppet of the drug hair is the puppet form that performs the predetermined action on the preset track with some kind of mechanical device. Meat puppets come from children born after birth to imitate the head of the staff and the hanging silk puppets, so they have two forms. The far source of the shadow play is the folklore of the Tang Dynasty, which gradually took shape in the early Northern Song Dynasty. It has nothing to do with the early "Shadow Witchcraft" of our country. In essence, it should be an animated play. Chapter four analyzes the artistic form and the reason of prosperity of puppet play in Song Dynasty. A textual study of the instrumental music, singing and script forms that may be used in the puppet dramas of the Song Dynasty; an analysis of the political and economic factors that may contribute to the prosperity of the puppet dramas of the Song Dynasty; and a point out that the image of Bao Lao was worn by children or dwarfs. The main characteristic of imitating the old man's action is funny, and the drama is not much. The people of Song Dynasty classified Bao Lao into the ranks of puppets, which showed that puppet plays at that time had been very deep in daily life and could also be used as a proof of the prosperity of puppet plays in Song Dynasty. The fifth chapter discusses the relationship between puppet play and classical Chinese opera in Song Dynasty. After a brief analysis of the theories of the origin of several kinds of operas, this paper expounds, distinguishes and corrects the puppet theory put forward by Mr. Sun Kai. On this basis, the time and elements of the occurrence of Chinese opera are discussed respectively. At last, the author expounds his point of view in the form of mode conjecture: Chinese opera originated in the Southern and Northern dynasties, originated in the Tang Dynasty and finally formed in the Song Dynasty. The formation of opera should be evaluated from two aspects. One is the origin of its art, which can be obtained from the angles of music, literature, performance and so on. It is pluralistic, not single, and the puppet play of the Song Dynasty plays an important role in it. The objective condition of synthesizing these elements of form and content is the formation and continuous perfection of the cultural market in Song Dynasty.
【学位授予单位】：首都师范大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：K244;J809.2

【引证文献】