中国民间小戏研究

发布时间：2018-03-29 18:14

本文选题：中国　切入点：民间　出处：《上海大学》2014年博士论文

【摘要】：中国民间小戏的地位和作用很少能够被人们以公正的态度来对待，经常陷入以一种偏颇反对另一种偏颇的境地。民间小戏涉及范围广，时间跨度大，就其本身的复杂性、丰富性，以及对于中国历史文化的重要性而言，还需要人们更全面正确地认识和保护。第一章“民间小戏的概念”，以“小戏”概念为中心，梳理从古至今“小戏”在各种语境中的含义，以及戏剧史上出现过、与今日所谓“民间小戏”有交集的概念。如：杂戏、折戏（散出）、土戏、时剧（杂出）、捎戏等。第二章“民间小戏发展述略”，以年代为序，分唐前、唐五代、宋金元、明清、现代、当代民间小戏共六节，展现民间小戏从百戏中逐渐独立、发展壮大，奠定了各类民族表演艺术中以戏曲为首、为尊局面的概况。任何形式的戏剧都是以一个个剧目为存在的基础，具体剧目的核心则是它的题材内容。所以第三章“民间小戏的剧目”，在介绍民间小戏剧目题材来源之外，还选取几种常见的剧中人物类型，展现民间小戏思想内容的丰富性与复杂性。民间小戏艺术上最大的特点就是混杂拼贴，较多插入与情节之外内容的剧目类型有：串戏类、盘歌（盘道）类。第四章“民间小戏的表演”，重点总结了因受演员人数限制而形成的特殊方法：以人拟物、兼扮、跳进跳出、搭桥、假形。民间小戏对戏剧脚色体制的贡献在于最初的脚色——丑、旦的划分。民间小戏的表演无论是程序还是具体动作，很大程度上带有作为它来源的表演艺术——诸如歌舞、说唱的痕迹，并且即兴性强、观众参与互动成分较多。第五章“民间小戏的舞美”，总结了民间小戏化妆、服装、道具所具有的抽象、写意、虚拟等美学特色，很大程度上是着实因为条件有限。本章重点探究了舞具的形成，，以及舞具或发展为道具或在小戏中消失的原因。第六章“民间小戏的音乐”，除了列举民间小戏音乐的主要来源之外，主要梳理小戏音乐戏剧化的过程：分腔，零散的曲调如何进化为曲牌、板式，以及在走向城市发展为大戏过程中对自身原有特点（如衬腔）的放弃。第七章“民间小戏的走向”，总结了民间小戏大致三种发展结局：1、大多数都往大戏方向靠拢；2、少数保持原有的体制；3、还有一些走向消亡或基本消亡。不管是哪种结局，民间小戏整体趋向都是艺术上往精进、精致方向发展。第八章“民间小戏在当代社会的价值与发展策略”，分析了民间小戏不仅具有传播、传承历史文化信息以及对个人人格和社会秩序的造就、维护功能，滋养了许多艺术形式，并且还可以作为许多学科的研究对象。“戏剧危机”产生的同时，还给民间小戏带来生机，因为被冷落就意味着重新定位，有可能借此获得新的生存空间。当然民间小戏中的相当一部分，已明显难以靠自身力量重新占领市场，需要加大保护力度，以及通过多种方式让人们认识并传递它的价值。民间小戏曾在戏剧的一系列体制变动中，总是处于前沿位置。随着戏曲不再占据民族表演艺术的首要地位，传统意义上的民间小戏终将退位。戏剧产生的动机在于获得新鲜体验的愿望，即使到了戏曲消失的那一天，角色扮演、改换角度或场景寻求新体验的需求也仍然存在，所以大戏剧观念下的“小戏”仍然会借助新的载体，以新的形式活跃在人们的娱乐、生活之中。
[Abstract]:The status and role of Chinese folk opera can seldom be people with a fair attitude to treat, often caught in a biased against another biased position. Folk drama involving a wide range of time span, complex, its richness, and the importance of cultural Chinese history, still need people a more comprehensive understanding and protection.
The first chapter "the concept of" folk opera, with "small" concept as the center, combing the "small" since ancient times in various context, and drama history appeared, the intersection of the concept and the so-called "folk opera today. Such as: miscellaneous drama, drama, drama (from) soil, time series (a hybrid), a play.
The second chapter "of" folk drama development, with time as the preface points before the Tang Dynasty, Tang Dynasty and Five Dynasties, the Ming and Qing Dynasties, Song Jinyuan, modern, contemporary folk opera six Festival, folk drama show from the show in the independent development, gradually, laid all kinds of folk performing arts in the opera LED of respect for the situation.
Any form of drama is a repertoire of existing basis, specific repertoire of core is the theme of it. So the third chapter "Folk Opera repertoire", in the Folk Opera repertoire of sources of material, also selected several common types of characters, rich folk opera show the ideological content and the complexity of folk opera art. The biggest feature is the pastiche, insert more content and plot types are: String class drama repertoire, song (take).
The fourth chapter "performance" of folk opera, emphatically summarized the special forming method due to the restrictions on the number of actors: the quasiphysical, and play, jumping, bypass, cast. Folk drama drama role contribution to the system is that the original role - ugly, Dan division. Folk opera performances both specific action program or, largely as it comes with the performing arts such as dance, rap and traces of improvisation, audience participation more interactive components.
The fifth chapter "choreography" folk opera, summarizes the folk opera makeup, costumes, props is abstract, freehand, virtual aesthetic characteristics, largely because of the limited conditions. Indeed, this chapter focuses on the dance with formation, as well as the reason for the development of dance or props or disappear in the opera.
The sixth chapter "music" folk opera, in addition to the main sources are folk opera music, opera music and drama in carding process mainly: cavity, scattered to evolve to tune tune, plate, as well as in the development process for the city to show its own original features (such as lining cavity) to give up.
The seventh chapter "to" folk opera, folk drama summarized roughly three kinds of development: 1, most of them to the end of 2, a few drama direction; to maintain the original system; 3, there are some dying or die. No matter what the outcome, the overall trend of folk drama is the art to the sophisticated, delicate the direction of development.
The eighth chapter is "folk drama in contemporary social value and development strategy", analyzes the folk opera not only has the inheritance of historical culture and information dissemination, creating, for individual personality and social order maintenance function, nourish the many forms of art, and also as the research object of many subjects. The "drama crisis" produced at the same time, to bring the vitality of folk drama, because the cold means re positioning, may take to get a new living space. Of course, a considerable part of the folk opera, is obviously difficult to rely on its own strength to occupy the market, need to increase the protection, and through a variety of ways to let people know and transfer its value.
Folk drama had a series of institutional changes in the drama, is always in the front position. With the primacy of national opera no longer occupy the performing arts, traditional folk opera will abdicate. Drama is motivated by the desire to obtain fresh experience, even if that day, the drama disappear the role, change the angle the demand for new experiences or scenes still exist, so the grand theatre under the concept of "small" is still with the help of the new carrier, new forms of active in people's entertainment life.

【学位授予单位】：上海大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：J825

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