来自田野的守望—汗都春艺术研究

发布时间：2018-01-18 05:28

本文关键词：来自田野的守望—汗都春艺术研究　出处：《新疆艺术学院》2017年硕士论文　论文类型：学位论文

【摘要】：汗都春作为新疆锡伯族的民间艺术形式,由歌、舞、戏三者所构成,其幽默诙谐的表演风格、边歌边舞的演绎形式,以及锡汉合璧的语言特色,涵盖着民族化戏曲艺术的基本特征,呈现出文化混融的独特样貌。汗都春艺术主要流传于新疆伊犁察布查尔锡伯族聚居区,传承至今历时二百余年,期间历经了孕育、发生、转型、定型的四个阶段,在多元文化交融与碰撞的环境中,汗都春艺术经历了文化移植、借鉴、融合、创新的过程,它既前承本民族古老的艺术传统和汉族秧歌,又后续新疆小曲子的诸多因子,同时有选择的汲取新疆其他民族歌舞艺术的精华,通过自身的文化调适与磨合,最终以其独特的民族个性在新疆多元文化艺术中独树一帜。因综合性特征显著,对于其概念的界定,民间与学术界歧义互现。笔者认为汗都春属于民族化的地方小戏,并非严格意义上的舞台戏曲艺术,其“以歌为主,以舞为辅,戏舞交融”的艺术特征,具有鲜明的审美复合型效应。2007年汗都春艺术被列入新疆维吾尔自治区级非物质文化遗产的曲艺类。本文以汗都春的本体研究为核心,着重考察其表演语境的形态、功能与特点。创新点在于发现汗都春有别于传统戏曲,是歌—舞—戏构成的复合体,源自汉族声腔系统的平调与越调构成了汗都春的音乐语汇,但在曲调、唱腔、乐器伴奏等诸多方面,形成了自己独特的语言符号;在舞蹈语汇上具有象征意蕴,汗都春边歌边舞的形态体现了一种语言符号和非语言符号的象征关系;汗都春的表演程式充满审美情趣,既有汉族戏曲的共性,又极具民间戏曲的个性与生活化的审美特征,体现出谐趣厚味、技艺并重和情理统一的特征。汗都春所承载的文化内涵和审美特性,反映了新疆锡伯族人民的精神风貌。论文通过比较分析爱新舍里镇(三乡)和扎库齐牛录(八乡)这两个区域内的汗都春艺术,发现两乡在传承方式上有所异同,传承现状差异化显著,笔者从访谈的主观判断和调查样本的量化统计,得出汗都春在现代化语境中,面临着濒临消失、无以为继等诸多困境。为了实现汗都春艺术真正复苏,笔者根据锡伯族民众的心理预期,对汗都春艺术的的融合发展趋势做了阶段性的预测,得出汗都春的艺术创作要同民众审美心理相契合,传统与现代契合,须开辟新型的传播途径,实现其艺术生命朝多元融合的方向发展。本文以艺术学、人类学、民俗学等多种学科的理论与方法,就汗都春艺术的历史脉络、生成机制、歌舞形态符号象征特征、当代境遇等内容进行剖析,以田野调查实证为路径,通过走访察布查尔锡伯自治县境内的八个乡镇,将汗都春艺术置于锡伯族西迁历史和当地社会发展的动态进行研究,以民间歌舞戏形态作为研究的重点,从而寻绎汗都春艺术深层的文化基因。
[Abstract]:As the folk art form of Xibo nationality in Xinjiang, Khan du Chun is composed of song, dance and play, its humorous performance style, the deductive form of singing and dancing, as well as the language characteristics of the combination of Sibo and Han. Covering the basic characteristics of the national opera art, showing a unique appearance of cultural blending. The art of Khan du Chun is mainly spread in the Zabchar Xibo area of Xinjiang, which has been passed on for more than 200 years. During the four stages of gestation, occurrence, transformation and stereotyping, the art of Khan du Chun experienced the process of culture transplantation, reference, integration and innovation in the environment of multi-cultural blending and collision. It not only inherits the ancient art tradition of this nationality and Han Yangko, but also follows many factors of Xinjiang small tune, at the same time, it selectively absorbs the essence of other ethnic music and dance art in Xinjiang, and adjusts and adapts through its own culture. Finally with its unique national personality in Xinjiang multi-cultural arts unique. Because of the distinct comprehensive characteristics, the definition of its concept. The author thinks that Khan Duchun belongs to the local drama of nationalization, not the art of stage opera in the strict sense, which is characterized by "the song is the main part, the dance is the auxiliary, the drama and dance blend". In 2007, the art of Khan du Chun was included in the Quyi art category of the intangible cultural heritage of Xinjiang Uygur Autonomous region. This paper focuses on the Noumenon study of Khan du Chun. The innovation point is to find out that Khan du Spring is different from the traditional opera and is a complex composed of song, dance and play. The flat and overtone from the Han vocal system formed the musical vocabulary of Handuchun, but in many aspects, such as tune, singing, musical instrument accompaniment and so on, formed their own unique language symbols; There is symbolic meaning in dance vocabulary, and the form of Handu Spring singing and dancing embodies a symbolic relationship between language symbols and non-linguistic symbols. The performing formula of Khan du Chun is full of aesthetic interest, which has the common character of Han opera, the individuality of folk opera and the aesthetic characteristic of life, which reflects the rich taste of harmony. The cultural connotation and aesthetic characteristics carried by Khan Duchun. It reflects the spiritual features of Xibo people in Xinjiang. This paper analyzes the art of Khan du Spring in Aisinsheri Town (San Xiang) and Zakuqi Niu Lu (Ba Xiang) through comparative analysis. Found that there are similarities and differences in the way of inheritance between the two townships, the status quo of inheritance is significantly different. From the subjective judgment of interviews and the quantitative statistics of survey samples, we find that sweating in the modern context is facing the imminent disappearance. In order to realize the real recovery of Han du spring art, according to the psychological expectation of Xibo people, the author made a stage prediction on the integration development trend of Han du spring art. The artistic creation of Khan du Chun should be compatible with the aesthetic psychology of the people, the tradition and the modern should be compatible with each other, and a new way of communication should be opened to realize the development of its artistic life towards the direction of plural integration. This article uses art and anthropology. The theories and methods of folklore and other disciplines, such as the historical context, generation mechanism, symbolic characteristics of singing and dancing forms, and contemporary circumstances, are analyzed, and field investigation is taken as the path. Through visiting eight villages and towns in Chabuchar Sibo Autonomous County, this paper puts the art of Khan du Chun in the history of Xibo nationality's westward migration and the dynamics of local social development, taking folk singing and dancing opera form as the focus of the study. In order to find the deep cultural gene of Khan du Chun art.
【学位授予单位】：新疆艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J826

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