传统二人台剧本的艺术特征及舞台转化初探

发布时间：2018-04-30 06:23

本文选题：传统二人台 + 剧本　；参考：《内蒙古大学》2017年硕士论文

【摘要】：二人台主要流传于内蒙古、山西、陕西、河北等地,距今已有上百年的历史。作为地方剧种,它一直保持着充沛的舞台生命力,其中一个重要原因就是,它以反映广大劳动人民的日常生活为主要内容,同时表达着黎民百姓的喜怒哀乐。总体而言,二人台来源于民间生活,又将艺术表演生活化,是属于老百姓自己的艺术,深受广大劳动人民的喜爱。剧本为二人台艺术积基树本,在二人台艺术活动系统中发挥着至关重要的作用。二人台在2006年被录入首批国家非物质文化遗产项目,作为民间文化的重要组成部分,二人台有着丰厚的历史沃土和深厚的文化底蕴,在现代社会中愈发弥足珍贵,因此研究二人台剧本具有重要的现实意义;从文献的研究对象上看,研究多以呈现在舞台上的二人台作品为对象,而对二人台剧本自身的艺术特征研究甚少;从文献的研究内容上看,目前鲜有从二人台艺术生产过程这个角度研究二人台剧本与舞台的关系。那么传统二人台剧本创作与舞台表演的关联性是什么,平面文学为舞台呈现提供了哪些可能呢?笔者通过研读传统二人台剧本,观摩二人台表演作品,在此基础上结合理论研究来探讨传统二人台剧本的艺术特征及舞台转化。本文正文部分共分为三章:第一章以传统二人台剧本所侧重的叙事方式和抒情特点作为依据,将其分为叙事性剧本、抒情性剧本以及叙事抒情剧本。叙事性剧本以描述事物、事件、事态等客观事实来反映社会现实,注重的是内容的客观性和叙述性,例如《走西口》《卖碗》《借冠子》等。传统二人台抒情性剧本包括《挂红灯》《五月散花》《十对花》等,是通过叙事方式来流露内心感受、诉说情感态度,侧重于内容的主观诉求。叙事抒情剧本则是兼具叙事与抒情的特点,两者在剧本中相交相融,以二人台剧本《尼姑思凡》为代表;第二章通过对传统二人台剧本的梳理归纳、对比分析来论证剧本的艺术特征。首先,通过对比界定二人台文学和文学的二人台的概念,以此理解传统二人台剧本的特质就是服从于二人台艺术,服务于二人台的表演舞台。其次把握二人台剧本为舞台表演留有可能这一特质,论证剧本要契合舞台的规定性与情境性,同时还要契合舞台的虚拟性和程式化。最后,通过与小说、话剧剧本、诗歌等文学样式进行对比分析,探讨传统二人台剧本的结构、人物、语言等特征;第三章以传统二人台的表演作品作为研究个案来分析剧本的舞台转化,论述唱词念白与歌舞形式的转化,舞台提示与表演呈现的转化,情节结构与节奏流畅的转化,取材改编与审美期待的转化以及价值取向与审美趣味的转化。
[Abstract]:Mainly spread in Inner Mongolia, Shanxi, Shaanxi, Hebei and other places, more than a hundred years ago. As a kind of local drama, it has always maintained abundant stage vitality, one of the important reasons is that it reflects the daily life of the working people as the main content, while expressing the happiness and anger of the people of Li Min. Generally speaking, the two-person stage comes from the folk life, and the artistic performance is the art of the common people, which is deeply loved by the working people. The script is the base of the two-person stage art and plays an important role in the two-person stage art activity system. Errentai was entered into the first batch of national intangible cultural heritage projects in 2006. As an important part of folk culture, Errentai has rich historical fertile soil and profound cultural heritage, which is becoming more and more precious in modern society. Therefore, it is of great practical significance to study the plays of Errentai; from the point of view of the research object of the literature, the research takes the works of Errentai as the object of study, but there is little research on the artistic characteristics of the screenplay of Errentai; From the point of view of the literature, there are few researches on the relationship between the stage and the stage from the point of view of the production process of the two-person stage. So what is the connection between the traditional script creation and the stage performance, and what is the possibility of the graphic literature for the stage presentation? By studying the traditional two-person stage script and observing the performance works, the author discusses the artistic characteristics and stage transformation of the traditional two-person stage script on the basis of theoretical research. The main body of this paper is divided into three chapters: the first chapter is based on the narrative style and lyric characteristics of the traditional Errentai script, which is divided into narrative script, lyric script and narrative lyric script. Narrative plays reflect social reality by describing things, events, events and other objective facts, and pays attention to the objectivity and narration of the content, such as "Walking the West" > "selling Bowls", "borrowing the Crown" and so on. The lyrical script of traditional two-person stage includes "hanging red light", "May scattered flowers", "ten pairs of flowers", and so on. It reveals the inner feelings, tells the emotional attitude and focuses on the subjective demands of the content through the way of narration. The narrative lyric script has the characteristics of both narrative and lyric, and the two intersects in the script, represented by the two-person stage script "Niu Sifan", the second chapter summarizes the traditional two-person stage script by combing and summing up the traditional two-person stage script. Comparative analysis to demonstrate the artistic characteristics of the script. First of all, by comparing and defining the concept of "two-person stage" in literature and literature, we can understand that the characteristic of the traditional two-person stage script is to serve the performance stage of the two-person stage from the art of the two-person stage. Secondly, it is necessary to grasp the possibility of the stage performance and demonstrate that the script should conform to the prescriptive and situational character of the stage, and also to the fictitious and stylized nature of the stage. Finally, through the comparative analysis with the novel, drama script, poetry and other literary styles, this paper discusses the structure, characters, language and other characteristics of the traditional two-person stage script. The third chapter takes the performance works of the traditional two-person stage as the research case to analyze the stage transformation of the script, discusses the transformation of the singing words and singing and dancing form, the transformation of the stage hint and the performance presentation, the transformation of the plot structure and the smooth rhythm. The transformation of material adaptation and aesthetic expectation and the transformation of value orientation and aesthetic taste.
【学位授予单位】：内蒙古大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J825;I207.36

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