壮剧新师的生活史：一位民间艺人的人生启示

发布时间：2018-04-25 15:44

本文选题：北路壮剧 + 传承　；参考：《广西民族大学》2009年硕士论文

【摘要】： 本论文以历史人类学的理论方法和视角特点,通过考查一个北路壮剧传人的生活史,分析北路壮剧作为一种传统艺术形式在现代化过程当中的际遇。北路壮剧是广西壮族劳动人民创造的一种民间戏曲,是操北路方言群众喜欢的地方戏曲,是壮族人民生活理想和抱负的寄托。但是,作为一种活态传统文化,由于受自身存在形式的限制和人类社会结构、社会环境改变的影响,再加上世界经济、科技一体化和现代化进程加快的冲击,文化标准化趋势的挤压,它存在的社会基础日趋狭窄。本文以深入访谈、参与观察等田野调查为研究方法,以北路壮剧的第十代传承人——新师闭克坚学艺、传艺、授艺的一生经历为主线,展开讨论传统文化在现代化背景下的境遇。在传统的稻作文化熏染下,北路壮剧表演盛行,演员活跃,表演者受人尊敬;进入“现代化”,北路壮剧由于“落后”、“腐朽”而遭到抛弃,尤其是在文化大革命时期,壮剧表演被取缔,传承者被囚进了监狱;改革开放后,社会经济文化环境的变迁,使得北路壮剧的阵地日益萎缩,演员们为了生计相继离开北路壮剧的舞台;直到21世纪,政府主导非物质文化遗产保护工作,北路壮剧重获新生,表演者又活跃在各地的舞台,但是新形势下面临的新问题是北路壮剧将以怎样的方式继续传承,沿袭传统方式还是改革创新?这个问题牵动着每一个壮剧人。
[Abstract]:Based on the theoretical method and visual angle of historical anthropology, this paper analyzes the fate of Beilu Zhuang drama as a traditional art form in the process of modernization by examining the life history of a beilu Zhuang opera. Beilu Zhuang Opera is a folk opera created by the working people of Guangxi Zhuang nationality. However, as a living traditional culture, due to the limitations of its own forms of existence and the social structure of human society, the social environment changes, coupled with the impact of the world economy, scientific and technological integration and the acceleration of the process of modernization, With the development of cultural standardization, its social foundation is becoming narrower and narrower. This paper takes in-depth interview, participation in observation and other fieldwork as the research method, and takes the life experience of the tenth generation of Beilu Zhuang Opera as the main line. To discuss the situation of traditional culture in the context of modernization. Influenced by the traditional rice culture, the Beilu Zhuang opera was popular, the actors were active and the performers were respected. In the "modernization", the Beilu Zhuang opera was abandoned because of its "backwardness" and "decay", especially during the Cultural Revolution. Zhuang opera performances were banned and inheritors imprisoned. After reform and opening up, the social, economic and cultural environment changed, making the position of Beilu Zhuang Opera shrinking day by day. Actors and actresses left the stage of Beilu Zhuang Opera one after another for their livelihood; until the 21st century, The government is leading the work of protecting the intangible cultural heritage, the Beiluzhuang drama has been reborn, and the performers are also active on the local stage. However, the new problem in the new situation is how the Beiluzhuang drama will continue to be passed down. Follow the traditional way or reform and innovation? This question affects everyone in the Zhuang opera.
【学位授予单位】：广西民族大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J825

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