落腔调查与研究

发布时间：2018-06-23 00:18

本文选题：落腔 + 源流　；参考：《郑州大学》2017年硕士论文

【摘要】：落腔,是一种地方小戏,主要流行于豫北农村,在人民群众中颇受欢迎,于2011年评为国务院公布的国家级非物质文化遗产之一。本论文对落腔的源流、剧本文本及班社组织进行综合考察,在史料与民间艺人的记忆中梳理落腔的发展脉络,思考落腔的生存机制和传承意义。落腔是在民间曲艺莲花落的基础上形成的,这已得到了多方的共识,但其产生时间却众说纷纭。第一种说法认为落腔已有三百年的历史,于清嘉庆年间出现,道光年间在豫北地区流行。第二种说法认为落腔产生于清咸丰年间。第三种认为落腔产生于同治三年。这三种说法不断得到讨论,经过比较落腔与莲花落及武安落子,并通过查阅各种史料,本论文认为落腔出现于嘉庆末年,在本地说唱艺术“彩扮莲花落”的基础上,受武安落子的影响形成,与山西上党落子同一来源,在后来的发展中又形成自己鲜明的地域特色。口头传承使落腔文本形成程式性的表述方式和结构方式,为落腔剧本文本的创作、传承和表演中的即兴创作提供了创作语汇和范型。程式性的叙事单元、叙事类型和表演模式,表现了豫北地区社会的地方性知识和民众对于乡村历史的集体记忆,体现出了地方文化的传统意义,这也是促进落腔在地区内稳定传承的重要原因。落腔班社肩负着传承和发展落腔的职责和使命,班社组织以职业剧团、半职业剧团、村落组织三种形式的实践推动落腔的发展。职业剧团引领落腔的发展方向,半职业剧团是优秀艺人脱颖而出的途径,而村落组织则是培养群众基础的最好方式。落腔活跃于庙会节庆、人生仪礼等各种场合,是乡民的一项娱乐活动,也是一笔丰厚的精神遗产,但是近年的发展也遇到了挑战。落腔的传承需要政府和剧团自身的共同努力,只有紧随时代,在继承中创新,落腔才能得到更长远的发展。
[Abstract]:Falling cavity is a kind of local drama, mainly popular in rural areas of northern Henan, popular among the people, in 2011 as one of the national intangible cultural heritage announced by the State Council. This paper makes a comprehensive investigation of the origin, script text and ban-society organization, combs the development context of the falling cavity in the memory of historical materials and folk artists, and considers the survival mechanism and inheritance significance of the falling cavity. The cavities are formed on the basis of folk art lotus flower, which has been agreed by many parties, but the time of its formation is different. The first is that the cavities have a history of 300 years, which appeared in the Qing Dynasty and became popular in the Northern Henan Province during the Daoguang period. The second view is that the cavities came into being during the Xianfeng period of Qing Dynasty. The third is that the cavities came into being in three years of Tongzhi. These three kinds of theories have been discussed continuously. By comparing the falling cavity with the lotus flower and Wu an Luozi, and by referring to various historical materials, this paper thinks that the falling cavity appeared in the late years of Jiaqing, and based on the local rap art of "playing the lotus flower fall". Influenced by Wu'an Luozi, it came from the same source as Shanxi Shangdang Luozi, and formed its own distinct regional characteristics in the later development. Oral transmission forms the formative expression and structure of the text, which provides the creative vocabulary and paradigm for the creation, inheritance and improvisation of the script. The programmed narrative units, narrative types and performance models represent the local knowledge and collective memory of the rural history of the people in the northern part of Henan, and reflect the traditional significance of the local culture. This is also an important reason to promote the stable transmission of cavities in the region. The cavernous banners are responsible for inheriting and developing the cavities. The bankas organize to promote the development of the cavities by the practice of professional troupes, semi-professional troupes and village organizations. The professional troupe leads the development direction of the cast, the semi-professional troupe is the way for the outstanding artists to stand out, and the village organization is the best way to cultivate the mass foundation. Living in temple festivals, life rituals and other occasions, it is a rural people's entertainment activities, but also a rich spiritual heritage, but in recent years, the development has met challenges. The inheritance of the falling cavity needs the joint efforts of the government and the troupe itself. Only by following the times and innovating in the inheritance can the fallout get a longer term development.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J825

【相似文献】