城市语境中的泰山皮影戏研究

发布时间：2018-03-11 16:22

本文选题：皮影戏　切入点：城市语境　出处：《山东艺术学院》2011年硕士论文　论文类型：学位论文

【摘要】：泰山皮影戏是在近年民俗热和申遗热的浪潮中脱颖而出的一个有趣个案，官方的肯定褒扬与乡土受众群体的疏远失落形成了强烈的反差。一方面，2006年，山东省泰安市的泰山皮影戏作为山东皮影戏艺术的代表入选首批国家级非物质文化遗产保护名录，同年获得文化部颁布的首届“文化遗产日奖”，传承人范正安亦获得诸多荣誉称号；另一方面，泰山皮影戏频繁出入于国内外高规格的文化交流和商业演出活动，在本地域却较少有固定的演出时间和机会。城市中的较高知名度和一般村落居民对它的孤陋寡闻有着鲜明对比。长成在城市文化氛围里的泰山皮影戏，在非物质文化遗产保护工程的裹挟下不但使本已湮没在城市文化记忆里的脉搏在新世纪初重新跳动，而且传承人在山东皮影整体没落的形态下，还能游刃有余地将自己的社会影响力发挥到极致。城市空间、国家立场和文化传承偶然在一个民间游艺民俗上邂逅碰撞，仅此一点也使习惯了立足村落研究的民俗学者将之视为异数。从民俗学、人类学的角度看，传统意义上的民俗研究主张奠基于乡民文化，，它的依托环境无疑应该是部落、村社、乡村，以及乡土气息浓厚的城镇。泰山皮影戏恰巧倒置了这种单一语境的生存状态和文化传播渠道，乡村与城市，传统与现代、农业与工业——生存在传统文化网络结构中的民间戏曲这次在霓虹灯的照射下折射出耐人寻味的色彩。泰山皮影戏无疑也成为民间游艺民俗研究的一个特例。从游艺民俗与市民文化的互动关系着眼，论文共分四大部分：引言部分即本文的研究缘起，主要描述了本文研究的意义、目的、方法等内容。首章主要将泰山皮影置于山东皮影流派的整体框架和中国皮影的历史节点中探索其历史渊源。联系泰山皮影的现有形态，追问其皮影技艺的传承在历史变革中有没有断裂或重塑的可能；同时通过山东皮影流派的比较，也试探反驳了山东皮影没有原生土壤的传统观点。第二章，重点描述了泰山皮影戏固态的审美形式和活态的舞台情境，通过综合其艺术形态的探讨，客观理性地分析其真正的民间艺术价值和审美价值，并对其与村落皮影的个性差别进行反思。第三章，将泰山皮影戏纳入城市母体及其与宗教、俗信、泰山道教等多重文化语境下，将游艺民俗与市民文化的互动关系放在城市经济文化的大背景下综合比较，结合泰山文化和泰安城市的文化个性和民间艺人的市民属性得出论文结论。
[Abstract]:Taishan shadow play is an interesting case that stands out from the tide of folklore fever and inheritance fever in recent years. The official affirmation and the loss of the local audience groups formed a strong contrast. On the one hand, in 2006, Taishan shadow play in Tai'an City, Shandong Province, as a representative of Shandong shadow play art, was selected as the first batch of national intangible cultural heritage protection lists. In the same year, he was awarded the first "Cultural Heritage Day Award" issued by the Ministry of Culture. Fan Zhengan, the inheritor, also received many honorary titles. On the other hand, Taishan Shadow Drama frequently went out and down in high-level cultural exchanges and commercial performances at home and abroad. In this region, however, there are few fixed performance time and opportunities. The city's higher visibility and the average village residents have a sharp contrast to its ignorance. The Taishan shadow play, which has grown up in the city's cultural atmosphere, has not only revived the pulse that has been lost in the city's cultural memory at the beginning of the new century, but also under the influence of the intangible cultural heritage protection project. Moreover, in the form of the overall decline of the shadow shadow in Shandong, the inheritors can also easily exert their social influence to their extreme. Urban space, national position and cultural heritage occasionally encounter a folk entertainment folklore by chance. Only this makes folk scholars who are used to the study of villages regard it as different. From the point of view of folklore and anthropology, traditional folklore studies are based on the culture of the villagers. Its environment should undoubtedly be tribal, village and community. Rural areas, and towns with strong local flavor, Taishan shadow play happened to reverse this single context of survival and cultural transmission channels, rural and urban, traditional and modern, Agriculture and industry-Folk operas living in the network structure of traditional culture reflect interesting colors under the light of neon lights. Taishan shadow play has undoubtedly become a special case of folk art folklore research. From the interactive relationship between folk art and civic culture, the paper is divided into four parts: the introduction part is the origin of this study, mainly describes the significance and purpose of this study. In the first chapter, Taishan shadow is placed in the overall framework of Shandong shadow school and the historical node of Chinese shadow to explore its historical origin. Ask whether it is possible to break or reshape the inheritance of his shadow art in the course of historical transformation; at the same time, through the comparison of Shandong shadow schools, I also try to refute the traditional view that Shandong shadow has no original soil. Chapter two, This paper mainly describes the solid aesthetic form and live stage situation of Taishan shadow play, analyzes its real folk art value and aesthetic value objectively and rationally by synthesizing its artistic form. In the third chapter, the Taishan shadow play is brought into the city mother body and its multi-cultural context, such as religion, popular belief, Taishan Taoism, etc. The interactive relationship between recreation folklore and citizen culture is comprehensively compared under the background of urban economy and culture, and the conclusion is drawn by combining Taishan culture with the cultural personality of Tai'an city and the civic attributes of folk artists.
【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】：J827

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