九十年代以来的城市剧场二人转

发布时间：2018-06-22 22:33

  本文选题：九十年代以来 + 城市剧场　； 参考：《吉林大学》2017年博士论文

【摘要】：本论文以九十年代以来的剧场二人转作为考察与研究对象,运用田野考察和文献梳理相结合的方法对论文进行分析、论证。以往研究成果,对传统二人转的研究较多,对城市剧场二人转专门进行研究的著述较少。本论文尝试从以下几个章节展开论述:前言部分以时间为序,对二人转的研究进行梳理,九十年代以来也是二人转研究的多元与深入期,并开始出现对剧场二人转的讨论。第一章对二人转在城市中的发展进行概述,二人转在书场里拣板凳头、唱客栈、唱票房子(火车站)、唱撂地、唱小剧场、唱茶社及串巷子演唱、在城市公园演唱、唱站前曲艺厅、小剧场等等,最后在城市剧场站稳脚跟,每一时期每一地点,表演的内容也不同。第二章对二人转的演出空间及演出内容发生的变化进行梳理、分析,并对二人转的“真伪之辩”进行剖析。第三章论述剧场二人转是多种合力作用的结果,二人转由民间文化向大众文化的转化、剧场的经营管理者、演员的文化自觉及创新意识、政府的作用等等,共同制衡着二人转的发展。第四章主要分析剧场二人转的特征,二人转的涉性表演、二人转对娱乐至上的追求、二人转带有粗野的乡土气息。第五章论证剧场二人转对传统二人转的回归,注意与观众的交流、“百货迎百客”的原则、丑旦的角色构成与跳进跳出的方式、兼容并包的形式、戏拟化的表演。第六章论证媒介与剧场二人转的关系。结语部分,本文以九十年代以来的城市剧场二人转为研究对象,对其在城市的发展状况有个大致梳理,对其与传统二人转的变与不变、剧场二人转对传统二人转的回归等问题进行了深入的探讨,尤其是对剧场二人转的特征进行了剖析。剧场的繁荣也是多方力量作用的结果,其中剧场的经营管理者、政府及演员的文化自觉意识、创新意识等共同影响着剧场二人转。尤其是媒介,对剧场的二人转影响相当巨大。剧场二人转也在多方力量的制衡中,向前发展。
[Abstract]:In this paper, the theater since the 1990s as the object of investigation and research, the use of field investigation and literature combing method to analyze and demonstrate the paper. In the past, there are more researches on the traditional tworentun, and less on the urban theater errenzhuan. This thesis attempts to discuss from the following several chapters: the preface part takes the time as the order, carries on the combing to the research of the Errenzhuan, also is the multivariate and the thorough period of the study of the Errenzhuan since the 1990s, and begins to appear the discussion of the Theater's Errenzhuan. The first chapter gives an overview of the development of Errenzhuan in the city. Errenzhuan picks up benches, sings inns, sings the house (railway station), sings the floor, sings small theatres, sings teahouses and lanes in the city park, and sings in the city park. In front of singing quyi hall, small theater and so on, finally in the city theater to establish a firm foothold, each time each place, the performance content is also different. The second chapter combs and analyzes the changes of the performance space and the performance content of Errenzhuan, and analyzes the debate of truth and falsehood of Errenzhuan. In the third chapter, the author discusses the result of various combined forces, the transformation from folk culture to popular culture, the management and management of the theater, the cultural consciousness and innovative consciousness of the actors, the role of the government, and so on. Together check and balance the development of the two-person rotation. The fourth chapter mainly analyzes the characteristics of the theater, the sexual performance, the pursuit of entertainment, and the rustic flavor of Errenzhuan. The fifth chapter demonstrates the return of the theatrical two people to the traditional one, the communication with the audience, the principle of the department store meeting the hundred guests, the ugly character composition and the way of jumping out, the inclusive form, the theatrical performance. The sixth chapter demonstrates the relationship between the media and the theater. In the conclusion part, this text regards the city theater two person turn since the 1990s as the research object, to its development condition in the city has a rough comb, to its and the traditional two person rotation change and the invariable, This paper probes into the return of the traditional two-person rotation, especially the characteristics of the two-man-rotation of the theater. The prosperity of the theater is also the result of various forces. Among them, the management of the theater, the government and the actors' consciousness of cultural consciousness and innovation together affect the two-player theater. In particular, the media, the theater of the two-person impact is quite great. Theater two people also in the checks and balances of various forces, forward development.
【学位授予单位】：吉林大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J825
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本文编号：2054476