传播学视野下的池州傩戏研究

发布时间：2018-06-07 09:42

本文选题：池州傩戏 + 文化传承　；参考：《安徽师范大学》2017年硕士论文

【摘要】：池州傩戏是国内迄今为止保存较古老完整的古代戏曲,无论在表演方式、演出剧目、唱法唱腔,还是在面具道具、服饰砌末等方面都有具体体现,被学术界誉为中国“戏曲活化石”“古文化的层叠积淀”,其中蕴含了丰富的宗教学、民俗学、戏曲学、人类学、考古学等学科知识,也为当下考察远古文明和时代思想提供了折射的活态样本。同时,由于池州傩戏一方面内属于中国傩文化,具有古朴、原始、乡土等傩文化的普遍特征,另一方面还因其地域文化和历史流变的注入,通过兼收并蓄而形成一种池州地区特有的仪式戏剧。因此,池州傩戏被国务院列入了“国家首批非物质文化遗产名录”,备受社会各界的关心与瞩目。随着时代的变迁,池州傩戏从一种日常的生活事象逐渐抽离,成为一种传统文化和历史遗产,失去了其原生的生活关联度和敬畏崇拜感。而傩戏本身的古老陈旧和“封建迷信”的标签,原始社会图腾崇拜的起源与现代科学技术的解释相互对立,赖以生存的农耕文明被高度发达的工业文明侵蚀,宗族内部口传心授的一脉传承与融媒时代信息传播的几何式裂变格格不入,古朴单调的傩舞动作在光怪陆离的媒介奇观下显得尤为笨拙沉重。因此,面对池州傩戏的保护,存在着一定的争议,也不可避免地出现传播误区。通过调查分析,池州傩戏与当代媒介文化存在着断裂和连接,它投射出现代性的后果,也需要进行意义的重构;它超脱于信仰,也植根于传统;它反映着数字时代的鸿沟,也连接着过去、现在和未来。本课题从传播学、文化人类学的视域出发,还将进行长期深入的田野调查,进入池州傩戏的文化空间,接触更多的现场影像,收集更多第一手的资料,为非物质文化遗产的研究提供一个具体研究实例,同时提出传承建议督促池州傩戏的切实保护。针对池州傩戏的传承路径,还要从适度复魅、文化自觉、环境依托、传媒视野等几个角度出发来合理建构。
[Abstract]:Chizhou Nuo Opera is an ancient opera that has been preserved so far in our country. It is embodied in the performing way, the performing repertoire, the singing style, the mask props, the dress and so on. Known as the "living fossil of Chinese opera" and "the accumulation of ancient culture", which contains a wealth of religious, folklore, drama, anthropology, archaeology and other disciplines, It also provides a living sample of refraction for the study of ancient civilization and the thought of the times. At the same time, because Chizhou Nuo opera belongs to Chinese Nuo culture on the one hand, it has the common characteristics of ancient, primitive, native Nuo culture, on the other hand, it also because of the injection of regional culture and historical change. A ritual drama unique to Chizhou area was formed by the combination of eclectic and eclectic. Therefore, Chizhou Nuo Opera has been listed by the State Council as the first batch of intangible cultural heritage list, which has attracted the attention of all walks of life. With the change of the times, Chizhou Nuo Opera gradually separated from a kind of daily life and became a kind of traditional culture and historical heritage, and lost its original life related degree and the sense of reverence and worship. However, the old and old Nuo opera itself and the label of "feudal superstition", the origin of totem worship in primitive society and the interpretation of modern science and technology are opposite each other, and the agricultural civilization which depends on survival is eroded by highly developed industrial civilization. The tradition of oral instruction within the clan is incompatible with the geometric fission of information transmission in the media era, and the simple and monotonous Nuo dance is particularly clumsy under the strange and strange media spectacle. Therefore, in the face of Chizhou Nuo opera protection, there are some disputes, but also inevitably spread misunderstanding. Through investigation and analysis, Chizhou Nuo Opera has been broken and connected with contemporary media culture. It reflects the consequences of modernity and needs to be reconstructed; it is detached from belief and rooted in tradition; it reflects the divide of the digital age. It also connects the past, the present and the future. From the perspective of communication and cultural anthropology, this topic will also carry out long-term and in-depth field investigations, enter the cultural space of Chizhou Nuo Opera, contact more scene images, and collect more first-hand information. It provides a concrete research example for the study of intangible cultural heritage, and puts forward some suggestions to supervise the protection of Chizhou Nuo Opera. In view of the inheritance path of Chizhou Nuo Opera, it is necessary to construct reasonably from several angles, such as moderate reenchantment, cultural consciousness, environmental support, media vision and so on.
【学位授予单位】：安徽师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J825;G206

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