《渔灯秧歌的调查与研究》

发布时间：2018-04-30 19:21

本文选题：渔灯秧歌 + 艺术特征　；参考：《山东师范大学》2012年硕士论文

【摘要】：渔灯秧歌流传于鲁南台儿庄的运河岸边的黄林庄，1931年由天津传入台儿庄，是土生土长的富有地方特色的一种民间乡会艺术。其表现形式是以歌舞为主，以欢快、喜庆为主调，即情即景，自由发挥，即兴表演。有时也表演一些故事情节的戏曲小节目，内容大都是才子佳人，儿女姻缘方面的，也有表现男女说逗的。总之，渔灯秧歌是一种歌、舞、戏、逗（丑）四位一体的民间表演艺术形式。本文的主体部分共分为四章：第一章为渔灯秧歌的研究背景。其中包括齐鲁舞蹈文化对渔灯秧歌的影响以及对其生长的地理人文环境和本身的历史渊源等进行分析，这一部分立足于实际，对渔灯秧歌进行了总体上的概述。第二章为渔灯秧歌的艺术特征。这也是本篇论文的主体部分，本章通过田野调查和对前辈们的艺术研究成果的总结，具体阐述了渔灯秧歌的表演形式、服装道具、角色的分类、伴奏音乐等一系列的艺术特征，对渔灯秧歌的整体表演风格进行具体的记述。第三章为渔灯秧歌的文化内涵。渔灯秧歌的表演风格展现了民俗文化，体现了文化功能，从文化理论的角度进一步对渔灯秧歌进行分析。第四章为渔灯秧歌的现状分析与传承保护。本章通过对渔灯秧歌的现状分析，提出了当下人们应重视和保护，并继承与发展这一传统的民间艺术。本论文的创新之处，主要表现在以下两个方面：第一，充实了舞蹈学界对渔灯秧歌的研究渔灯秧歌是山东民间舞蹈的一种，但是对其有所了解的人少之又少，只有在中国民族民间舞蹈集成编辑部编的《中国民族民间舞集成》（山东卷）和胡晶莹、刘晓真主编《秧歌—中国国粹艺术读本》中简单的介绍了一些之外，其他著作很少提到，更没有影像资料留存，因此对其发掘整理的人寥寥无几。笔者对渔灯秧歌的历史、艺术特征、文化等进行调查、整理和研究，从整体上概括和总结。让更多的人了解和认识这一小舞种。第二，从民间民俗、社会功能等理论的角度分析渔灯秧歌深刻的文化内涵渔灯秧歌是齐鲁文化的一个组成部分，是传统民间艺术文化的代表。通过更深层的理论角度分析和揣摩渔灯秧歌的文化现象是极其有意义的，希望能给热衷于舞蹈事业的人们带来一些启示和思考。渔灯秧歌这一代表着齐鲁舞蹈文化的小舞种，，经历了从鼎盛到衰落的过程，如今随着城乡文化生活的不断丰富，人们审美价值的转变，渔灯秧歌的演出形式已基本不存在。因此，当下的人们必须大力的保护与传承这一传统的民间艺术，让这一朵美丽的齐鲁舞蹈奇葩永远绽放下去。
[Abstract]:The Yangko of fishing lanterns was introduced from Tianjin to Taierzhuang in 1931 in Huanglin Zhuang on the bank of the canal in Taierzhuang, southern Shandong Province. It is a kind of folk folk art with local characteristics. Its manifestation is to sing and dance, to happy, happy as the main tone, that is, the scene, free play, improvisation. Sometimes also performs some story plot drama small program, the content mostly is talented person, the child marriage aspect, also has the performance male and female to say funny. In a word, Yangko is a kind of folk performing art form of song, dance, play and tease (ugliness). The main part of this paper is divided into four chapters: the first chapter is the research background of Yangko. It includes the influence of Qilu dance culture on Yutang Yangko, the geographical and humanistic environment of its growth and its historical origin. This part is based on the reality and gives a general overview of the Yangko. The second chapter is the artistic characteristics of Yangko. This is also the main part of this paper. Through the field investigation and the summary of the art research achievements of the predecessors, this chapter concretely expounds a series of artistic features such as the performance form of Yangko, costume props, role classification, accompaniment music, and so on. The whole performance style of Yangko fishing lanterns is described in detail. The third chapter is the cultural connotation of Yangko. The performance style of Yuliangyangko shows folk culture and cultural function, and further analyzes the Yangko from the angle of cultural theory. The fourth chapter is the present situation analysis and inheritance protection of Yangko. Based on the analysis of the present situation of Yangko, this chapter puts forward that people should pay attention to and protect, and inherit and develop this traditional folk art. The innovation of this paper is mainly reflected in the following two aspects: First, it enriches the study of Yangko in dance circles. Yuliangyangge is a kind of folk dance in Shandong, but very few people know about it, only in the "Integration of Chinese Folk Dance" (Shandong Volume) and Hu Jingying, compiled by the editorial Department of Chinese Folk Dance Integration. Liu Xiaozhen's "Yangge-Chinese quintessence Art Book" briefly introduces some of the other works rarely mentioned, not to mention the preservation of image materials, so very few people excavate and collate them. The author investigates, arranges and studies the history, artistic characteristics and culture of Yangko, and generalizes and summarizes it as a whole. Let more people understand and understand this small dance species. Second, from the perspective of folk custom, social function and other theories, this paper analyzes the profound cultural connotation of Yangko. Yangko is a part of Qilu culture and a representative of traditional folk art culture. It is very meaningful to analyze and speculate on the cultural phenomenon of Yangko from a deeper theoretical point of view, hoping to bring some enlightenment and thinking to the people who are keen on dancing. Yu-lantern Yangko, which represents the small dance of Qilu dance culture, has experienced the process from peak to decline. Now, with the continuous enrichment of urban and rural cultural life and the change of people's aesthetic value, the performance form of Yuliangyangge has basically not existed. Therefore, the present people must vigorously protect and inherit this traditional folk art, so that this beautiful Qilu dance will bloom forever.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J722.21

【引证文献】