佛教文化视域下的西域戏生成研究

发布时间：2018-11-04 16:55

【摘要】：自古以来,人类文明就是在相互交流与影响的基础上不断向前推进的,世界上从来没有一种孤立的文化形态。同样,西域戏的发展也不例外,西域位于中国和西方交流的中间地带,从孕育初期的歌舞小戏直至后世元杂剧角色的形成,其在生成过程中的各戏剧要素都带着佛教文化的烙印。为说明两种异质文化之间的交往所具备的不同点,分析佛教因素在西域戏生成过程中的作用,本文从西域戏的形成、发展、繁荣三个阶段入手,将文章分为三部分内容,分别是绪论、正文、结语。绪论部分包含三方面内容,分别是西域与西域戏的界定、西域戏的内涵与生成以及本文的研究现状与研究思路。西域戏的时空界限,笔者主要将其地区限定在新疆与敦煌两个地区,时间设定在秦汉一直到元代之前这一历史时期。西域戏剧的内涵即产生在该地区、该时期所有的前戏剧形态,包括戏剧孕育期的歌舞小戏,戏剧形成发展期的讲唱艺术,也包括西域戏剧繁荣期的典型剧本《释迦因缘剧本》与《弥勒会见记》。本文的研究现状,笔者也自三方面展开:分别是西域戏与外来文化关系的研究、西域讲唱艺术中戏剧要素的研究以及西域剧本的考证评定。关于本文的研究思路,笔者自西域戏生成的孕育期、形成期、繁荣期三个阶段展开,进而分析佛教在其形成过程中的影响。第一章概括讲了西域戏生成的发生背景。笔者自三方面展开:首先是宗教仪式与戏剧艺术两种形态的依赖与共生关系;其次,西域位于东方和西部地区交往的中间地带西域地区受印度文明的影响,印度舞蹈、音乐广泛传入西域;最后,丝绸之路的开通使得西域佛教文化异常繁盛。大致体现于两方面:首先是借助佛经翻译,佛教在西域回鹘民族中广泛传播,二是寻迹丝绸之路路线,自西域到中原的远古交通线上出现许多佛教石窟遗址。第二章是西域戏的孕育,主要讲音乐歌舞在戏剧产生前的准备。笔者以四种早期表演形态、戏剧角色、戏剧中的音乐与器乐以及一种初期的西域戏剧傀儡戏为主要内容来谋篇布局。四种与佛教相关的早期表演形态分别为苏幕遮、钵头、弄婆罗门、伎乐。对于西域戏剧角色中的参军与苍鹘,笔者分析后发现了其源头上的佛教文化因素。西域戏中的音乐大多为佛教音乐,主要包括佛教大曲、胡乐大曲、摩柯兜勒等。西域戏的器乐主要包括羯鼓、七弦琴、火不思三种佛教器乐。西域初期戏剧傀儡戏从最早的记载来看,它在形成初期与佛教的关系可以想见。第三章为西域戏的形成,主要从敦煌地区讲唱艺术中的部分代言体形式出发,分析其对戏剧形成所作的形式上的准备。关于讲唱艺术的表演手段,笔者自俗讲、转变、唱词与诸宫调四种形式展开分析。讲唱的道具即指图画,图画分立铺与横铺两种。音乐主要指讲唱音乐到戏曲音乐的过渡。曲辞方面笔者主要考察了敦煌讲唱艺术中的《苏幕遮五台山曲子》和《小小黄宫养赞》两首曲辞。西域戏的形成期较孕育期而言,戏剧艺术在代言体和故事性方面都有了明显的进步,讲唱艺术成为了西域戏最终形成的踏板。第四章是西域戏剧剧本个案研究。从故事情节的完整性来看,剧本是戏剧艺术中重要要素之一。笔者从西域地区保存完整、具有代表性的两个剧本《释迦因缘剧本》与《弥勒会见记》出发,对剧本的演变过程、戏剧史意义、剧本的情节、对话、独白所表现出的戏剧性作了分析。最终得出结论,《释迦因缘》与《会见记》两个剧本的被探明,一方面为我国戏剧史增添了新的戏剧形式,从另一点说上,我国戏剧艺术的完成或依赖于它,具有极大的戏剧史意义。第五章是途经西域的佛教文化对后世戏剧的影响。笔者也自两个方面展开:一是佛教在体例上对元杂剧的影响,此种影响主要表现在脚色和曲调的形成上。二是佛教对后世戏剧剧场的影响。“勾栏”、“瓦舍”等表演场所,从源头上看,都或与佛教文化相关。结语是对全文的总结,对文章归纳后笔者得出以下四点结论:一是西域戏孕育期的歌舞小戏推进了戏剧形态的形成;二是西域戏形成与发展期的讲唱文学生成了代言体的表演手段;三是西域戏剧的繁荣期呈现出经典佛戏;四是西域戏从整个方面影对后来戏剧的发展有所借鉴。文化的发展是在交流互鉴中展开的,在我国西域戏的生成历程中,佛教体现出了极大的贡献。然而,西域戏考证只是在起步时期,相信随着研究的深入,西域戏研究会呈现出一个光明的前景。
[Abstract]:Since ancient times, human civilization has been pushing forward on the basis of mutual communication and influence, and there has never been an isolated culture form in the world. In the same vein, there is no exception to the development of the drama, which is located in the middle of the communication between China and the West. In order to explain the differences between the two heterogeneous cultures, the paper analyzes the role of Buddhist factors in the generation of drama, and starts from the three stages of the formation, development and prosperity of the drama, and divides the articles into three parts: introduction, body and conclusion. The introduction part contains three aspects: the definition of the play, the connotation and the generation of the play, and the research status and the research thought of this thesis. The time-space boundary between Xinjiang and Dunhuang is defined mainly by the author, and the time is set in the historical period before the Yuan Dynasty until the Yuan Dynasty. The connotation of the drama is produced in the region, all the former plays of the period, including the drama and dance drama, the drama forming the development stage, the singing art, also includes the typical script of the drama boom. The author also has three aspects: the study of the relationship between the drama and the foreign culture, the study of the drama elements in the singing art and the textual research and evaluation of the script. On the basis of the research thought of this paper, the author starts from three stages: the conception period, the formative period and the prosperity period of the drama generation, and then analyzes the influence of Buddhism in the course of its formation. The first chapter outlines the background of the generation of drama. From three aspects, the author begins with three aspects: first, the relationship between religious ceremony and the two forms of drama art; secondly, it is influenced by Indian civilization, Indian dance and music spread widely in the middle zone of the intercourse between the east and the west; and finally, The opening of the Silk Road has made the Buddhist culture unusually rich. It is mainly embodied in two aspects: First of all, Buddhism is widely disseminated in the nomadic people of the Republic of China through the translation of Buddhism and Buddhism, and two are the route of tracing the Silk Road, and many Buddhist grottoes are found on the ancient traffic lines from the Central Plains to the Central Plains. The second chapter is the inoculation of the drama, mainly the preparation of music and dance before the drama. The writer uses four kinds of early performance form, drama character, music and instrumental music in the drama, as well as an initial drama drama to make a layout for the main content. The four kinds of early performances related to Buddhism were Su curtain, bowl head, Brahmin, and music. The author analyses the Buddhist culture factors at the source after the analysis. Most of the music in the drama is Buddhist music, mainly including Buddhist Daqu, Hu Le Daqu, Moleclode and so on. The instrumental music of the drama mainly consists of three kinds of Buddhist music, including the drum, the seven-stringed instrument and the fire. From the earliest records, the drama of the early stage of the first stage shows that it can be seen in the relationship between the initial stage and the Buddhism. The third chapter is the formation of drama, mainly from the form of part of representation in the art of singing in Dunhuang, and analyzes its preparation in the form of drama formation. On the performance means of singing art, the author analyses the four forms, such as vulgarity, transformation, singing and Zhugong. The singing props refer to pictures, discrete parts of pictures and cross-laying. Music mainly refers to the transition of music to opera music. In this aspect, the author mainly inspects the Dunhuang singing art's and two songs. The drama art has made remarkable progress in terms of endorser and feature, and the singing art became the final step of the drama. The fourth chapter is a case study of drama play. From the completeness of the plot, the play is one of the important elements in the drama art. The author analyses the evolution of the script, the significance of the drama, the plot of the play, the dialogue and the script of the script. At the end of this paper, the author draws the conclusion that the discovery of the two plays, which is more than two plays, adds a new form of drama to the history of drama in our country, and from another point, the completion or dependence of the drama art in our country has great significance in drama history. The fifth chapter is the influence of Buddhism culture through the Confucian culture on the later drama. The author also develops from two aspects: one is the influence of Buddhism on the Yuan drama, which is mainly manifested in the formation of foot color and melody. The second is the influence of Buddhism on the drama theatre of later generations. "Tie Bar", "Osher" A place of performance, viewed from the source, or associated with a Buddhist culture. The conclusion is the summary of the full text, after concluding the article, the author concludes the following four points: One is the formation of the drama form by the singing and dancing play in the first stage of the drama; Three is the classical buddha in the prosperity of the drama; four is the play from the whole aspect to the development of the later drama. The development of culture has unfolded in the exchange of exchanges, and Buddhism reflects a great contribution in the course of the generation of Chinese opera. However, the textual research is only in the beginning period, and it is believed that with the deepening of the research, the drama research institute has a bright future.
【学位授予单位】：陕西师范大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J809.2
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本文编号：2310521

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