赣南采茶舞蹈文化中的客、畲混化研究
发布时间：2018-07-15 12:15
【摘要】：赣南采茶戏最早起源于明代万历年间,形成于明末清初,而成熟于康乾盛世。作为南方最具代表性的地方戏曲之一,赣南采茶戏在历史上呈现出了非常顽强的生命力和极大的繁荣景象,而赣南采茶戏丑角表演技巧的成熟与完善却为赣南采茶走向繁荣局面打下了坚实、可靠的根基,同时为后人研究赣南采茶戏的发展与动作表演提供了有理可循的依据。 赣南采茶戏是赣南客家文化中的精华和瑰宝,这一点得到海内外专家的一致认可和肯定,但是作为研究舞蹈文化的我们,如果单单从客家文化去研究和理解赣南采茶舞蹈的动作表演,我们会碰到很多疑问和难题。如客家人的民间艺术会为什么尊崇畲族人(雷光华)作为本民族艺术的开山鼻祖；为什么民间采茶艺人都不吃狗肉；为什么丑角表演中有如此之多的动物形态模拟；中原汉人是看不起狗的,但是到了赣南采茶戏当中为什么狗又成了图腾崇拜的地位等等；这就是本篇文章所要回答的问题。 本文选择了对赣南地区经济发展、历史演变都起着至关重要作用的两大族群——畲族与客家的融合为前提,即从客、畲混化的角度,运用田野调查、文献学、民族志、舞蹈学、文化人类学等多种研究方法,考察在客、畲血统和文化上互相交融的背景下产生的客家民间艺术——赣南采茶舞蹈的形态特征及文化内涵。即从宏观的文化视野,去窥探蕴含在赣南采茶舞蹈身上的两种(客、畲)文化因子。
[Abstract]:Gannan tea-picking drama originated from Wanli period of Ming Dynasty, formed in the late Ming Dynasty and early Qing Dynasty, and matured in Kangqian prosperous period. As one of the most representative local operas in the south, Gannan tea-picking drama has shown a very strong vitality and great prosperity in history. However, the maturity and perfection of the performance skills of the clown in Gannan tea picking drama have laid a solid and reliable foundation for the development of tea picking in Gannan and provided a reasonable basis for future generations to study the development and action performance of the tea-picking drama in Gannan. Tea picking in Gannan is the essence and treasure of Hakka culture in Gannan, which has been unanimously recognized and affirmed by experts at home and abroad. But as we study dance culture, If we study and understand the action performance of Gannan tea picking dance from Hakka culture alone, we will encounter a lot of questions and problems. For example, why do Hakka folk art associations respect the she nationality (Lei Guanghua) as the originator of their own national art, why folk tea pickers do not eat dog meat, why there are so many animal models in the clown show; The Han people in the Central Plains despise dogs, but why dogs have become the status of totem worship in tea picking in Gannan, and so on; this is the question to be answered in this article. This paper chooses the integration of the she nationality and the Hakka nationality, which plays an important role in the economic development and historical evolution of the south of Jiangxi, as the premise, that is, from the angle of the mixing of Hakka and she, using field investigation, philology, ethnography, dance science. Cultural anthropology and other research methods are used to investigate the morphological characteristics and cultural connotations of Hakka folk art, tea picking dance in Gannan, which is produced under the background of the blending of Hakka, she lineage and culture. That is, from the macro cultural perspective, to explore the Gannan tea dance contained in the two (guest, she) cultural factors.
【学位授予单位】：福建师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825
本文编号：2124039
[Abstract]:Gannan tea-picking drama originated from Wanli period of Ming Dynasty, formed in the late Ming Dynasty and early Qing Dynasty, and matured in Kangqian prosperous period. As one of the most representative local operas in the south, Gannan tea-picking drama has shown a very strong vitality and great prosperity in history. However, the maturity and perfection of the performance skills of the clown in Gannan tea picking drama have laid a solid and reliable foundation for the development of tea picking in Gannan and provided a reasonable basis for future generations to study the development and action performance of the tea-picking drama in Gannan. Tea picking in Gannan is the essence and treasure of Hakka culture in Gannan, which has been unanimously recognized and affirmed by experts at home and abroad. But as we study dance culture, If we study and understand the action performance of Gannan tea picking dance from Hakka culture alone, we will encounter a lot of questions and problems. For example, why do Hakka folk art associations respect the she nationality (Lei Guanghua) as the originator of their own national art, why folk tea pickers do not eat dog meat, why there are so many animal models in the clown show; The Han people in the Central Plains despise dogs, but why dogs have become the status of totem worship in tea picking in Gannan, and so on; this is the question to be answered in this article. This paper chooses the integration of the she nationality and the Hakka nationality, which plays an important role in the economic development and historical evolution of the south of Jiangxi, as the premise, that is, from the angle of the mixing of Hakka and she, using field investigation, philology, ethnography, dance science. Cultural anthropology and other research methods are used to investigate the morphological characteristics and cultural connotations of Hakka folk art, tea picking dance in Gannan, which is produced under the background of the blending of Hakka, she lineage and culture. That is, from the macro cultural perspective, to explore the Gannan tea dance contained in the two (guest, she) cultural factors.
【学位授予单位】：福建师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825
【参考文献】
相关期刊论文 前10条
1 黄文华,陈宾茂;独具特色的"三绝"——谈赣南民间舞中的三大表演技巧[J];北京舞蹈学院学报;2005年01期
2 刘斌;杨林;;新时期如何创作出优秀的赣南采茶舞蹈作品[J];北京舞蹈学院学报;2009年03期
3 谢重光;客家与畲族早期关系史述略[J];福建论坛(人文社会科学版);2004年03期
4 薛俊敬;;客家茶叶文化对“采茶戏”发展的影响[J];歌海;2009年04期
5 曾泽昌 ,阳贻禄;论赣南采茶戏的文学特征[J];赣南师范学院学报;1991年04期
6 黄文华,钟哲;论客家舞蹈的风格特点[J];赣南师范学院学报;2003年05期
7 黄文华,曾蓉萍;浅谈赣南采茶舞中的“矮子步”[J];赣南师范学院学报;2004年02期
8 黄文华;;跳好赣南采茶舞的三个环节[J];赣南师范学院学报;2006年04期
9 李俊玲;曾荣;;浅谈赣南“采茶”的源流[J];安徽文学(下半月);2008年12期
10 温卫玲;谢莉;;论赣南采茶戏在高师教育中的传承[J];读与写(教育教学刊);2009年11期
相关硕士学位论文 前3条
1 徐凤英;赣南采茶戏的唱腔艺术研究[D];江西师范大学;2009年
2 欧阳丽苗;赣南采茶戏丑角表现艺术研究[D];江西师范大学;2009年
3 欧阳绍清;赣南客家采茶戏旦角唱腔初步研究[D];福建师范大学;2009年
，本文编号：2124039
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2124039.html
