临汾近30年蒲剧现代戏研究

发布时间：2018-03-27 16:06

本文选题：蒲剧　切入点：现代戏　出处：《山西师范大学》2012年硕士论文

【摘要】：蒲州梆子是产生较早的梆子声腔剧种，民间习称“乱弹”，清代称“梆子腔”或“山陕梆子”，民国初年称“蒲州梆子”，20世纪30年代始称蒲剧，现主要流行于山西西南部（通常称晋南）和豫西、陕北部分地区。自形成到现在，蒲州梆子随着时代的变迁而演进，为中国传统文化的传承起到了积极的、多层面的作用，对中国戏曲梆子声腔家族的繁衍产生过举足轻重的影响。蒲剧编演现代戏时间不长，始于20世纪初期。有确切史料可查，第一个出现在蒲剧舞台上的时装戏，是浮山人刘本昌民国元年（1911）创作，民国十三年（1924）首演于平阳（今临汾）的《浮讧图》。蒲剧有数百年的悠久历史，积累了丰富的剧目，形成了自身独有的剧种风格和表演特色，这种深厚的传统一直从好坏两个方面影响着蒲剧的发展。譬如在排演传统戏或历史故事剧时，就容易继承、借鉴，吸收和创造，但在排演现代戏时，角色行当、音乐唱腔、表演技巧等就难以轻而易举将原有的东西加以调配运用，既难以割舍传统又难以在传统的基础上改造和创新，传统反而成了包袱，可见与不可见地成了蒲剧革新发展的阻碍。正是由于这个原因，蒲剧艺术团体演出的尤其是自己创作的现代戏很少，在这方面与兄弟剧种相比，有明显的差距。目前蒲剧现代戏发展出现停滞现象，要想更好的发展，必须进行改革创新。通过对省内几部有代表性现代戏的剧本分析，帮助蒲剧从兄弟剧种吸收和借鉴好的创作经验。从晋剧现代戏《油灯灯开花》中学习如何在矛盾中凸现、塑造人物形象和性格；从北路梆子现代戏《黄河管子声》中学习如何体现戏的诗化韵律；从上党梆子现代戏《丹凤朝阳》中学习如何铺设矛盾、编织情节。从京剧样板戏中获得启示：大胆对蒲剧唱腔、音乐进行创新与寻求突破突破，语言改革方面追求比较口语化的唱词，希望唱词里体现生活气息、人物性格。民间文化背景的渗透方面，戏曲作品愈接近民间的题材就愈容易写好，愈接近民间的角色就愈生动。随着时代的发展，很多传统的艺术都因为各种各样的原因逐渐被时代抛弃，临汾的蒲剧艺术也面临这样的尴尬处境，，挣扎在时代的变革中，面对临汾的蒲剧艺术的生存现状，本文希望通过对各剧种剧本的研究，尽可能帮助蒲剧拓宽发展空间。通过走访各地文化部门及院团老艺人、剧作家、导演等，加深对书面材料的理解，以期对蒲剧艺术在文本、剧目创新上如何发展，有一个初步构想，使蒲剧的特点更加突出，并对蒲剧艺术传承发展略尽绵薄之力。由于笔者初次尝试写这样的论文，错误和不妥之处，恳请专家、学者批评指正。
[Abstract]:Pu Zhou Bangzi is a kind of opera of Bangzi opera, which is used to be called "Tang Pun", "Clapper tune" or "Shan Shan Bangzi" in Qing Dynasty, and "Puzhou Bangzi" in the early Republic of China, which began to be called "Puju Bangzi" in the 1930s. It is mainly popular in southwest Shanxi (commonly known as southern Shanxi) and parts of western Henan and northern Shaanxi. Since its formation, Puzhou Bangzi has evolved with the changes of the times, which has played a positive and multi-level role in the inheritance of Chinese traditional culture. Chinese opera Bangzi vocal family has had a decisive impact on the reproduction. The period of writing and performing modern drama was not long, which began in the early 20th century. The first fashion drama to appear on the stage of Po Opera was created by Liu Benchang, a man of Fushan, in the first year of the Republic of China (1911). In 1924) he premiered in Pingyang (today's Linfen), "the Flying fiasco". Pu Opera has a long history of hundreds of years, has accumulated rich repertoire, and formed its own unique style and performance characteristics. This profound tradition has always influenced the development of Puju from two aspects, good or bad. For example, it is easy to inherit, learn from, absorb and create when rehearsing traditional or historical drama. Performance skills and so on will be difficult to easily deploy the original things to use, it is difficult to abandon the tradition and difficult to reform and innovation on the basis of tradition, but the tradition has become a burden. It can be seen that it has become an obstacle to the innovation and development of Puju Opera. It is precisely for this reason that there are few modern operas performed by Puju art groups, especially those created by themselves. In this respect, compared with brother dramas, There is a clear gap. At present, the development of modern opera in Puju has stagnated. In order to achieve better development, we must carry out reform and innovation. Through the analysis of several representative modern drama scripts in the province, To help Pu opera absorb and learn from the good creative experience from the brotherly drama. Learn from the modern drama "Oil Lantern Blooming" of the Jin Opera how to highlight the contradictions and shape the characters and characters; Learn how to embody the poetic rhythm of the opera from Beilu Bangzi Modern Opera, "the Sound of the Yellow River", and learn how to lay contradictions from Shangdang Bangzi Modern Opera, "Danfeng Chaoyang", Weaving plot. Get inspiration from Beijing Opera sample Opera: bold innovation and breakthrough in music, language reform in the pursuit of more colloquial lyrics, hope that singing words reflect the atmosphere of life. Character. The permeation of folk culture background, the closer the opera works are to the folk themes, the easier to write, the closer the folk characters are, the more vivid they are. With the development of the times, many traditional arts have gradually been abandoned by the times for various reasons. Linfen's Puju art is also facing such an awkward situation, struggling in the transformation of the times, facing the survival status of Linfen's Puju art. This paper hopes that through the study of various plays, we can help Puju broaden its development space as far as possible. By visiting local cultural departments and old entertainers, playwrights, directors, etc., we can deepen our understanding of the written materials in order to have a better understanding of the art of Puju in the text. There is a preliminary idea on how to develop the repertoire innovation, which will make the characteristics of Po Opera more prominent, and contribute a little bit to the development of the art inheritance and development of Puju Opera. As the author first tried to write such a paper, it is wrong and inappropriate, so I would like to ask experts. A scholar criticizes and corrects.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825

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