祁门目连戏宗教世俗化研究

发布时间：2018-03-17 01:33

本文选题：祁门　切入点：目连戏　出处：《上海师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：目连戏是指以目连救母故事为主要题材的剧种的统称，形成于宋代，是我国戏曲的“活化石”，距今约有一千多年的历史。如今目连戏已流传至全国各地，其中包括专演目连救母故事的独立剧种和存在于其它剧种之中、演唱目连救母故事相关剧目的剧种。祁门目连戏即是我国安徽地区专演目连救母故事的独立剧祁门目连戏主要流行在安徽南部（黄山市）的祁门县，其故事内容源自佛经，宣扬的是佛家的思想；在我国发展传播的过程中，吸收了儒家和道家的思想；徽州的地域文化带有浓郁的理学思想，致使流行在徽州的祁门目连戏也深深地带有理学思想的烙印。这样一个集各家思想的传统艺术还与祁门当地的民俗风情相结合，体现着当地的地域文化。祁门目连戏的一些唱段与宗教音乐有着渊源关系，还有一些唱段来源于当地或其他地方的民间小调；剧中的大部分角色来自于宗教的神祗和信徒，但人物的性格和部分剧目却又透着世俗的意味。在过去，祁门目连戏的演出是当地宗教仪式中的一部分，而现在所有的宗教仪式活动都已消失，只留下世俗化的表演。说明祁门目连戏的音乐和剧目内容是集宗教和世俗于一体的，演出形式则是由宗教向世俗化转变。 2006年，，祁门目连戏被列入第一批国家级非物质遗产名录。研究祁门目连戏不仅对祁门目连戏等地方小剧种的推广和保护有一定的积极意义，同时又能直观地了解我国祁门的地方文化和宗教文化。研究祁门目连戏不仅对中国的戏曲发展可见一斑，同时对非物质文化遗产的保护、继承和发扬也具有理论基础。本文分为三个部分：第一部分包括第一章，主要内容： 1.简述对目连戏的产生、体裁的变化、题材的丰富和发展等。2.结合祁门当地的风土，概括祁门目连戏的基本形态。第二部分包括第二章和第三章，主要内容： 1.在前人研究的基础上对祁门目连戏的音乐形态进行分析，对比祁门各班社的概况和剧目，并分析导致各班社形成差异的原因。2.结合所记的谱例，对音乐当中的宗教性和世俗性进行具体分析。3.分析祁门目连戏剧目内容当中的宗教性和世俗性。4对比演出形式等方面的自身变化，论证祁门目连戏己经从一个“娱神”为主的宗教戏曲转变为一个以“娱人”为主要目的的地方戏曲。第三部分包括第四章和第五章，主要内容： 1.根据祁门目连戏班社的现状调查，指出并讨论祁门目连戏目前存在的诸多问题。2.对其保护与发展做出理性的思考，探求最适合祁门目连戏发展的方式，并提出改革思路。
[Abstract]:Moulan Opera refers to a variety of operas whose main theme is the story of saving his mother. It was formed in the Song Dynasty and is the "living fossil" of Chinese opera, which has a history of more than 1,000 years. Now it has been spread all over the country. Among them, there are independent operas that play the story of saving mother by Mu Lian and those that exist in other kinds of plays. Qimen Mu Lian is a kind of independent play that plays the story of saving mother from Mu Lian in Anhui Province, and it is related to the story of rescuing mother of Mou Lian, which is related to the story of saving mother from Mu Lian in Anhui Province. Qimen Mu Lian Opera is popular in Qimen County in southern Anhui Province (Huangshan City). Its story content originates from Buddhist sutras and propagates the thought of Buddhism, and absorbs the thought of Confucianism and Taoism in the process of development and dissemination in our country. The regional culture of Huizhou has strong Neo-Confucianism thought, which causes the popular Qimen Mulian Opera in Huizhou to also carry the brand of Neo-Confucianism deeply. Such a traditional art, which gathers various thoughts, is also combined with Qimen's local folk customs and amorous feelings. Reflect the local regional culture. Some of Qimen mulian operas have a relationship with religious music, and some of them come from local or other folk minor tunes. Most of the characters in the play come from religious gods and believers. In the past, Qimen's performances were part of the local religious rituals, but now all religious rituals have disappeared. It shows that the music and repertoire of the Mu Lian opera of Qimen is a combination of religion and secular, and the form of performance is from religion to secularization. In 2006, Qimen Mu Lian Opera was included in the first batch of national intangible heritage list. The study of the Mu Lian Opera in Qimen is not only of positive significance to the promotion and protection of the local small drama, such as the Mu Lian Opera in Qimen, At the same time, it can directly understand the local culture and religious culture of Qimen. The study of Qimen mulian Opera is not only a sign of the development of Chinese opera, but also a theoretical basis for the protection, inheritance and development of intangible cultural heritage. This paper is divided into three parts:. The first part includes the first chapter, the main content:. 1. Brief introduction to the production, genre change, theme enrichment and development of Mutian Opera, etc. Combined with Qimen local style, the paper summarizes the basic form of Qimen Mulian Opera. The second part includes the second chapter and the third chapter, the main content:. 1. On the basis of previous studies, the music form of Mutian Opera in Qimen is analyzed, and the general situation and repertoire of each class in Qimen are compared. Analyze concretely the religious and secular nature of music .3. analyze the religious and secular aspects of Qimen's mulian drama contents. 4 contrast the forms of performances and other aspects of their own changes. Qimen mulian opera has changed from a religious opera of "amusing god" to a local opera with "entertaining people" as its main purpose. The third part includes 4th chapters and 5th chapters. 1.According to the investigation of the present situation of Qimen mulian opera troupe, this paper points out and discusses many problems existing in Qimen mulian opera at present. 2. It makes rational thinking on its protection and development, explores the most suitable way for the development of Qimen mulian opera, and puts forward the reform ideas.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J809.2

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