杨家将戏曲暨《昭代箫韶》研究

发布时间：2018-03-12 21:34

本文选题：杨家将戏曲　切入点：昭代箫韶　出处：《山西师范大学》2009年硕士论文　论文类型：学位论文

【摘要】： 本文以中国清代之前的杨家将戏曲以及清代宫廷大戏《昭代箫韶》为研究对象,运用了比较文学的基本原理及文本考证的方法,对清代之前杨家将戏曲的发展过程,《昭代箫韶》的产生、演变、影响、流传进行了较为系统的分析研究,并以《昭代箫韶》的演出研究为契机,对宫廷演出的杨家将戏进行了力所能及的整理,对清代杨家将戏曲在宫廷与民间两种不同的发展道路也进行了一定的比较和阐释。全文共分为三个部分论述: 绪论:回顾前人对杨家将戏曲的研究状况,说明选择本课题的原因,明确研究本课题的意义,并对自己的论文创新处进行说明。第一章:《杨家将戏曲的本事及流变》,结合正史、各类史料和戏曲文本,考察了杨家将戏曲的史实部分,对杨家将戏曲故事中出现的人物及事件进行了考证,通过杨家将故事在史实、文人记录、艺术领域等不同领域的比较,分析其艺术嬗变的源头及发展动因,从戏曲发展角度对杨家将戏的发展轨迹进行了力所能及的论述,并总结了清代之前杨家将戏的人物、故事情节发展的基本概况,并为下文的进一步论述做好铺垫; 第二章:《昭代箫韶文本研究》,首先论述了《昭代箫韶》的产生背景,即清初戏曲发展概况、戏曲文本基础、政治经济等因素对杨家将戏的影响,其次,对《昭代箫韶》的版本、作者、编撰年代、故事情节、人物、曲韵、宫调、曲牌等做出多方面的考证,通过与前代杨家将史实及戏曲、小说的比较,力图对其改编原因、手段、目的做出解释,并指出清统治者对杨家将忠勇精神的不同阐发倾向正代表了另一条与民间不同的发展道路,最后,从文本角度对《昭代箫韶》的演出规模、手段、条件、方式等进行了考察; 第三章:《宫廷与民间:杨家将戏曲的交流与比较》,以《昭代箫韶》在宫廷演出实际情况为主线索,以宫廷中演出的其他杨家将戏为引导,通过对杨家将戏在清代宫廷的演出实际情况的整理,对杨家将戏曲在民间与宫廷的演出交流活动进行考证,指出宫廷与民间杨家将戏相互影响的事实,并通过两者在剧目内容方面的比较,以此探讨杨家将戏在宫廷与民间的不同发展道路。结论:总结全文的观点,指出杨业之死是杨家将戏曲故事最早的源头,《昭代箫韶》是以往杨家将戏曲的集大成者,忠勇精神是杨家将戏曲长期流传的主要原因,并随着时代的不同,赋予了不同的精神内涵,民间与宫廷演出的相互交流与影响反映了民族融合的主题。
[Abstract]:This paper takes the opera of Yang Jiagang before the Qing Dynasty and the court drama Zhaodai Shao as the research object, and applies the basic principle of comparative literature and textual textual research method. The development process of Yang Jiagang's opera before the Qing Dynasty, the emergence, evolution, influence and spread of Shao in Zhaodi period were systematically analyzed and studied, and the research on the performance of Zhaodai Shao was taken as a turning point. Yang Jiagang opera performed by the court was sorted out within his ability, and the two different ways of development of Yang Jiayang opera in the Qing Dynasty were compared and explained to a certain extent. The full text is divided into three parts:. Introduction: review the previous research situation of Yang Jiagang opera, explain the reasons for choosing this topic, clear the significance of the study, and explain the innovation of his thesis. Chapter one: "the skill and Evolution of Yang Jiayang's Drama." combining with the official history, all kinds of historical materials and drama texts, this paper investigates the historical facts of Yang Jiayang's opera, and makes textual research on the characters and events that appear in the story of Yangjiayang's opera. Through the comparison of Yang Jiagang's story in different fields, such as historical facts, literati records, art field and so on, the author analyzes the origin and development motivation of his artistic transmutation, and discusses the development track of Yang Jiayang's opera from the angle of opera development. It also summarizes the characters of Yang Jiagang's drama before Qing Dynasty and the basic situation of the development of the story plot, and paves the way for the further discussion below. Chapter two: the study of Zhaodai-Shao text. First, it discusses the background of "Zhaodai-Shao", that is, the general situation of opera development in the early Qing Dynasty, the basis of drama text, the political and economic factors and so on. Secondly, it discusses the influence of such factors on Yang Jiagang's opera. The author, author, chronology, storyline, character, qu Yun, Gong Diao, qu Pai, etc. of the "Zhaodi Shao", etc., through the comparison with the historical facts and dramas and novels of Yang Jiagang in the previous generation, tried to make a comparison of the reasons and means for its adaptation. Objective to explain, and point out that the different expounding tendency of Qing rulers on Yang Jiagang's spirit of loyalty and valor represents another way of development that is different from that of the people. Finally, from the perspective of text, the author gives a text analysis of the scale, means and conditions of the performance of Zhaodai Dingshao. The way and so on have carried on the inspection; Chapter three: "Palace and Folk: the Exchange and comparison of Yang Jiagang's operas". The main clue is the actual situation of "Zhao Dai Shao" performing at the court, and the other Yang Jiagang operas performed in the court as the guide. By sorting out the actual situation of Yang Jiagang's performance in the Qing court, this paper makes textual research on the exchange of Yang Jiagang's opera in the folk and the palace, and points out the fact that the court and the folk Yang Jiayong play affect each other. And through the comparison between the two in the content of the play, this paper discusses the different development ways of Yang Jiaying Opera in the court and the folk. Conclusion: summing up the viewpoint of the full text, it is pointed out that the death of Yang Ye is the earliest source of the story of Yang Jiagang's opera, "Zhaodeo Shao" is the former master of Yang Jiayang's opera, and the spirit of loyalty and courage is the main reason for the long term spread of Yang Jiayong's opera. With the different times, different spiritual connotations have been given, and the mutual communication and influence of folk and court performances reflect the theme of national integration.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J809.2

【引证文献】