胶州秧歌“女性角色”类型研究

发布时间：2018-01-15 01:17

本文关键词：胶州秧歌“女性角色”类型研究　出处：《山东艺术学院》2011年硕士论文　论文类型：学位论文

【摘要】：胶州秧歌又称“跑秧歌”、“地秧歌”，俗称“扭断腰”、“三道弯”，与海阳秧歌、鼓子秧歌并称为山东三大秧歌。胶州秧歌距今已有300余年的历史,作为青岛首批国家级非物质文化遗产，流传于胶州湾一带。胶州秧歌以男刚女柔、婀娜多姿、舒展大方的舞蹈动作和“抬重落轻走飘”、“三弯九动十八态”的舞蹈风格，蜚声海内外。它鲜明的律动与特殊的风韵，表现出了山东人豪爽朴实的性格，并将山东女子的柔媚、坚韧表现的淋漓尽致。也正因此，胶州秧歌于50年代被纳入民间舞课堂教学中，成为北京舞蹈学院的民间舞必修课。可见，它在中国民间舞中的地位。本文以胶州秧歌“女性角色”类型研究为切入点，在对大量历史和研究成果梳理的基础上，采用历史学研究中基本的文献分析归纳法，田野实地调查记录等方法，对胶州秧歌“女性角色”在社会更替、历史变迁过程中其自身形态、文化属性、审美价值等方面,以及在专业院校民间舞课堂教学、舞台作品中的发展和现状进行了比较全面的挖掘整理和分析研究,并针对如何在山东专业院校教学课堂中保护这一国家级非物质文化遗产，使其不随波逐流，保有自己浓厚的表演风格和根文化特征这一核心问题，展开了一次尝试性的探索与革新。笔者在新编胶州秧歌教材中，按其三种女性角色的动律特点、性格特征的区分，编排了六个传统训练组合，并对于道具、伴奏音乐的使用也尽量使其回归本土，让课堂呈现出一种原始的乡土语境，让学生能够更为直接地了解到原生态胶州秧歌“女性角色”的风格特征，加强学生对于风格性的准确把握，从而达到保护传承胶州秧歌的目的。笔者认为舞蹈艺术的本质虽在于创新，但我们应当先树立起一面墙，告诉学生，祖先是什么样子，知道根在哪里，在此之外留有发展的空间。原生态胶州秧歌艺术的根源在滋养着它的那片土地上，对其的发展、创作，，不能够脱离母体，一旦与此相剥离，也就失去了其原有的生命力。因而，在编创组合和作品时，无论是教师还是编导都要以严谨的态度，在深入学习、研究其历史文化之后，再加以合理化的创新与发展，只有这样才能够打造出既有胶州乡土特色又具有时代审美价值的经典教材和作品。
[Abstract]:Jiaozhou Yangko also known as "run Yangko", "Land Yangko", commonly known as "broken waist", "three bends", and Haiyang Yangko, drum Yangko known as Shandong three Yangko. Jiaozhou Yangko has a history of more than 300 years, as the first batch of national intangible cultural heritage of Qingdao, spread in Jiaozhou Bay area. Jiaozhou Yangko to male, graceful and graceful. It is famous at home and abroad for its graceful dance movement, "lifting heavy weight and falling light walk" and "three bends and nine moves 18 states". Its distinctive rhythm and special charm show Shandong people's bold and simple character. Therefore, Jiaozhou Yangge was brought into the folk dance classroom teaching in 50s and became a required course of folk dance in Beijing Dance Academy. Its position in Chinese folk dance. Based on the research of the type of "female role" in Jiaozhou Yangge, this paper uses the basic literature analysis induction method in the historical research on the basis of combing a great deal of history and research results. Field survey records and other methods, Jiaozhou Yangge "female role" in the social replacement, historical changes in its own form, cultural attributes, aesthetic value and other aspects, as well as in professional colleges folk dance classroom teaching. Stage works in the development and status quo of a relatively comprehensive excavation and analysis and research, and how to protect this state-level intangible cultural heritage in the teaching classroom of Shandong professional colleges, so that it does not follow the current. The core problem of keeping its own strong acting style and root culture features has launched a tentative exploration and innovation. In the newly compiled Jiaozhou Yangge textbook, according to the characteristics of the three female characters, the author arranges six traditional training combinations and props. The use of accompaniment music also makes it return to the native place as far as possible, so that the classroom presents a primitive local context, so that students can more directly understand the original ecological Jiaozhou Yangko "female role" style characteristics. The author thinks that the essence of dance art is innovation, but we should first set up a wall to tell students. Ancestors are what they are, knowing where their roots are, and leaving room for development beyond that. The root of Yangge art in the original ecological Jiaozhou Yangge art in the nourishing of its land, its development, creation, can not be separated from the mother, once separated from this, it also lost its original vitality. In the creation of composition and works, both teachers and directors should take a rigorous attitude, in the in-depth study, study its history and culture, and then rationalize the innovation and development. Only in this way can we create classical teaching materials and works with local characteristics and aesthetic value of the times.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J722.21

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