龙江剧中二人转因素的传承与发展

发布时间：2018-01-29 19:19

本文关键词： 龙江剧二人转传承变迁新兴剧种戏曲发展　出处：《中央音乐学院》2010年硕士论文　论文类型：学位论文

【摘要】： 本文以龙江剧对其母体二人转因素的传承与发展为研究对象,以两者共同的生存环境和历史语境、音乐、表演与人物文化内涵的传承与发展为切入点,层层递进,试图找到在黑龙江地域生活的人们,共同拥有的联想模式、思维规则和隐喻逻辑,对两种艺术形式的共性因素加以阐述。在此基础上,作者还看到两种艺术形式存在着根本性差异,试图通过研究,寻找传统二人转因素在龙江剧中进行适应性转型的线索,关注龙江剧中二人转因素如何变化与发展。虽然龙江剧自诞生以来,仅有短短的五十年历史。但这门诞生并深深植根于黑土地的民间戏曲形式,囊获了戏曲艺术界的最高奖项。任何艺术形式的存在,都以受众为前提,龙江剧的发展同样离不开观众。龙江剧的风格热情、亲切,贴近生活,使大多数观众能够并愿意接受它。龙江剧在同类新兴剧种中,可用“独树一帜”、“生机勃勃”来概括,其发展的过程足以引起戏剧界与学者的关注。本文期望对龙江剧发展中与传统因素关系进行深入研究,给同类型剧种发展一点启示,引发其他研究者对整个中国戏曲发展的更多思考。本文以文献梳理为前提,通过实地考察对研究对象进行感性认识,运用音乐本体分析、比较、美学、民族音乐学等研究方法,达到上述研究目的。本文共分四章：第一章对二人转、龙江剧共同生存的地理环境、文化土壤进行分析；第二章从龙江剧的音乐入手进行分析；第三章以龙江剧表演体系与二人转舞蹈、绝技的关系作为研究对象；第四章是对龙江剧人物进行文化阐释,以前三章的研究为基础,从龙江剧、二人转人物被“渲染”的乡土特征、龙江剧、二人转共同拥有的“女爱男”的结构模式,寻找这种模式的文化原型及形成的原因。整体的研究以梅里安姆的概念——行为——音声为理论框架,了解龙江剧对二人转因素继承与发展的状况并对两者关系进行梳理。
[Abstract]:This paper takes the inheritance and development of the two elements of the parent body of Longjiang Opera as the research object, and takes the common living environment and historical context, music, performance and cultural connotation of characters as the breakthrough point. In order to find the associative mode, thinking rules and metaphorical logic shared by the people living in Heilongjiang region, this paper expounds the common factors of the two artistic forms. The author also sees that there are fundamental differences between the two forms of art, trying to find the clues of the adaptation transformation of the traditional "Errenzhuan" factor in Longjiang dramas through the research. Pay close attention to the change and development of the two characters in Longjiang dramas. Although Longjiang opera has only a short history of 50 years since it was born, this folk opera form, which was born and deeply rooted in the black earth, has won the highest prize in the field of opera art. Any form of art exists. The development of Longjiang Drama can not be separated from the audience. The style of Longjiang Opera is warm, cordial and close to life, so that most of the audience can and will accept it. Longjiang Opera in the same kind of new drama. Can be "unique", "vibrant" to sum up, its development process is enough to attract the attention of the theater and scholars. This article looks forward to the development of Longjiang drama and the traditional factors of in-depth study. To the development of the same type of drama a little enlightenment, causing other researchers to the development of the whole Chinese opera more thinking. On the premise of literature combing, this paper carries on the perceptual understanding to the research object through the field investigation, uses the music ontology analysis, the comparison, the esthetics, the ethnomusicology and so on the research method. This paper is divided into four chapters: the first chapter analyzes the geographical environment and cultural soil of Errenzhuan and Longjiang Opera. The second chapter analyzes the music of Longjiang opera. The third chapter focuses on the relationship between the performance system of Longjiang opera and the dance of Errenzhuan as well as the stunts. Chapter 4th is the cultural interpretation of the characters of Longjiang opera, the previous three chapters of the study as the basis, from the Longjiang drama, the two characters by "rendering" of the local characteristics, Longjiang drama. The structural pattern of "women love men", the cultural archetypes and the reasons for the formation of this model, are sought. The whole study is based on the concept of Meryam-Behavioral Sound. To understand the status of the inheritance and development of the two-person-rotation factors in Longjiang dramas and to sort out the relationship between the two.
【学位授予单位】：中央音乐学院
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J825

【引证文献】