雁北明清剧场及其演剧研究

发布时间：2018-06-24 23:32

本文选题：雁北 + 明清时期　；参考：《山西师范大学》2012年博士论文

【摘要】：山西神庙剧场数量众多，近年来成为学者们研究的对象之一。在山西北部的雁北区域，现存的神庙剧场的数量也很可观。另外据文献记载，，除了神庙剧场之外还有其它演出场所。但长期以来人们给予的关注却较少。针对这种状况，本文以田野考察资料以及相关文献为依据，对雁北明清时期剧场及其演剧状况展开讨论。在确定了本文讨论中心“雁北”的范围之后，首先，对雁北这个区域形成、巩固的历史过程作了梳理，探究其与时代和社会发展之间的联系，在此基础之上说明雁北戏剧生成的文化背景；其次，对神庙剧场发展的状况与具体的剧场建筑形制进行了描述与总结，使我们能够清楚了解剧场修建的实际状况与特点；再次，进一步从信仰角度出发，探讨了神灵信仰与剧场和演剧的关系；最后还对雁北在明清时期的演剧状况进行了梳理。通过对区域自然与社会环境变化的梳理，我们认为雁北区域的开发与历来的军事活动密切相关。明清时期该区域人文环境再次变化，特别是大同府在明代作为“九边”之一，对当时社会政治、经济与文化以及后来村落的发展都产生了重要影响，直接影响到以后的剧场建设与演剧活动。通过对剧场的考察，发现雁北在明时已出现了神庙剧场，目前仅见在文献和碑刻中记载的六处，清代神庙剧场已大量普及，目前仍存有上百处。特别是在世风的影响下，个别寺院在山门之外也修建了戏台。现存戏台建筑也主要为清代修建，卷棚顶占绝大多数，硬山顶者为少数，使用隔扇区分前后台，前檐大都不施斗h1，装饰简洁，内部檩条大多为两圆木上下叠加。这些特征与山西其它地区乃至华北的有一定的相似性，但更具有区域特征。它们既是神庙剧场改革与发展的必然结果，又与雁北自然地理条件、经济发展状况和生态环境有密切关系，还表现出一种地域性的审美追求。通过对信仰与剧场之间关系的考察，发现雁北明清时期的神庙剧场多与官方信仰有高度一致性。诸如城隍庙、关帝庙、真武庙、北岳庙、文昌祠、龙王庙、三官庙、八腊庙等大都被纳入到官方常祀范畴，它们在民间也得到了广泛认同。这些神庙对于官方来说，是现实与统治的需要，体现了封建统治系统的周密性、完整性与现实世界的社会秩序，官方根据现实处境对所祀神灵自觉地进行选择并加以利用，还要依附于长期以来形成的民俗传统；而对于民众来说，这些受实用主义的影响，也是对长期所形成的神灵观念或思想的传承。无论怎样，雁北在明清时期出现的各类神灵信仰，为剧场的普及与演剧活动的兴盛创造了条件。通过对文献资料的稽考，发现明代大同代王府与地方所蓄乐户众多，乐妓与官绅的往来在明代以及清初也较为普遍，这些都激发了地方各阶层观演戏剧的热情，对后来戏剧的发展和繁荣有重要的推动作用。明清时期雁北各县区，在迎神赛社和岁时节令时的戏剧表演活动也都异常丰富多彩，无论是对剧场的建设还是对剧种的发展都起了较大推动作用。现存的舞台题记中，有许多梆子戏和地方小戏剧目，还有班社的名称和艺人的名字，这些为了解地方戏曲的发展状况提供了可靠的依据。
[Abstract]:There are a large number of shrine theatres in Shanxi, which has become one of the research objects of scholars in recent years. In the north of Shanxi, the number of extant Temple theatres is very considerable. In addition, there are other venues in addition to the temple theater. Based on field investigation data and related literature, the theater and its theatrical situation in the north of the Ming and Qing Dynasties were discussed.
After determining the scope of the discussion of "Yan Bei" in this paper, first of all, this paper combs the formation of this region and consolidates the historical process of the north, explores its connection with the times and social development, and on this basis explains the cultural background of the formation of the opera in the North of the wild. Secondly, the development of the temple theatre and the concrete theatrical architecture. The form has been described and summed up so that we can clearly understand the actual conditions and characteristics of the construction of the theatre. Again, from the perspective of belief, the relationship between the belief of the gods and theatres and theatres is further discussed. Finally, the state of the opera in the north of the Ming and Qing Dynasties is combed.
By combing the changes in the natural and social environment of the region, we believe that the development of the northern region of the wild is closely related to the military activities in the Ming and Qing Dynasties. In the Ming and Qing Dynasties, the cultural environment of the region has changed again, especially in the Ming Dynasty as one of the "nine sides" of the Ming Dynasty, which had brought about the social and political, economic, cultural and later development of the village. The influence will directly affect the theatrical activities and theatrical activities in the future.
Through the investigation of the theatre, it is found that the temple theatre has appeared in the Ming Dynasty. At present, only six places are recorded in the literature and inscriptions. The temple theatre in the Qing Dynasty has been widely used, and there are still hundreds of places. In particular, under the influence of the wind, some monasteries have built the stage outside the mountain gate. The top of the coiling ceiling is the majority, the top of the hard top is a few, the front and back of the front eaves are distinguished from the front, the front eaves mostly do not fight H1, the decoration is simple, the internal purlin is mostly two logs on and down. These features are similar to the other areas and even in North China, but have more regional characteristics. They are the necessity of the reform and development of the temple theater. As a result, it is closely related to the natural geographical conditions, economic development and ecological environment of Yan Bei, and also shows a regional aesthetic pursuit.
Through the investigation of the relationship between the belief and the theatre, it is found that the temple theatre in the Ming and Qing Dynasties is highly consistent with the official beliefs. Such as Town God's Temple, Guan Yu Temple, the temple of true Wu, the temple of the North Yue, the temple of Wenchang, the temple of the Dragon Wang, the three official Temple, the eight La temple and so on are mostly included in the official worship category, and they are widely recognized in the folk. These temples are also widely recognized in the folk. For the government, it is the need of reality and rule, which embodies the integrity of the feudal system, the integrity and the social order of the real world, the official choice and use of the gods according to the actual situation, and the folklore tradition that has been formed for a long time; for the people, these are pragmatism. The influence was also the inheritance of the idea or thought of the gods for a long time. In any case, the worship of all kinds of gods, which appeared in the Ming and Qing Dynasties, created conditions for the popularity of the theatre and the prosperity of the opera.
Through the examination of the literature, it was found that there were many happy households in the Ming Dynasty and the localities in the Ming Dynasty. The contacts between the music prostitutes and the official gentry were more common in the Ming and early Qing Dynasties. These all stimulated the enthusiasm of the local strata and played an important role in the development and prosperity of the later drama. The dramatic performance of the competition society and the year's season is also very rich and colorful, whether it is for the construction of the theatre or the development of the drama. In the extant stage, there are many clapper and local drama, and the name of the class society and the name of the artist, which is to understand the development of the local opera. A reliable basis is provided.
【学位授予单位】：山西师范大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J805

【引证文献】