昆剧表演演变研究
发布时间：2018-08-22 12:53
【摘要】：本文旨在通过对昆剧表演艺术演进历史的梳理,分析其产生变化的内在动力,并试图总结出昆剧表演演变的一些具有规律性的内容。特别是在当前昆剧具有了“非物质文化遗产”和现时艺术形态双重身份的情况下,通过对昆剧表演艺术形成、演进,及美学品格等多方面的研究,以求准确把握这门古老艺术的核心特质和艺术价值,进而考察它在当代的传承是否合理和有效。本论文分为六个部分:第一章是从宏观的角度对昆剧表演艺术的整体做一个明确的认知,从其舞台呈现的构成元素和艺术美学品格方面分析它缘何成为汉民族戏剧表演艺术集大成者。在第一章明确历史大背景以及昆剧“百戏之师”历史地位之内在原因的前提下,第二章至第五章,以时间的自然演进为经线,以昆剧表演艺术发展的关键节点为纬线,具体展开讨论。第二章主要阐述昆剧表演艺术“集大成”的“丰富性”特征,也是对昆剧表演在清代乾嘉以前的演变历程做一个梳理。本章分为两个小节:第一节论述在昆剧身段谱的详细记录出现之前,昆腔全本戏演出盛行时代对于昆剧表演发展的影响。第二节中主要论述昆剧主流演出模式转变的历史大背景和转变过程。第三章重点论述当代昆剧表演奉为圭臬的“乾嘉传统”形成始末及艺术特色。本章第一节集中论述促使昆剧在乾嘉时期形成一整套表演规范的历史、政治、艺术本身发展等各方面原因,以及折子戏演出在其中扮演的重要角色。第二节,以《牡丹亭》的演出情况为例证,具体分析“乾嘉传统”以“传神”为旨归的艺术特点。第四章继续以历史时间为线,集中论述昆剧表演艺术“戏以人传”的“活态性”传承特征。本章分为两个小节:第一小节论述清代后期至民国,昆剧表演艺术在花部的挤压中求生存的演变轨迹。第二小节论述进入1949年之后,昆剧表演艺术在社会主义文艺政策和时代新变的影响下传承与演变的过程。第五章目光再次转向宏观角度,探讨位列“非遗”名录之后,当代昆剧表演艺术的演进与此前相比,产生了哪些变化。本章从正反两方面论述,分为两小节:第一节以昆剧专业院团的实际传承工作为研究对象,分析“非遗”身份对昆剧表演艺术的传承产生了哪些促进作用;第二节则从反面反思在“非遗”光环下,当代昆剧表演的传承出现了哪些艺术上的“隐性”流失。最后余论作为全文的总结和延伸。这一章立足前文,在以文献和舞台实际为基础对昆剧表演演变的历史进行了一番梳理分析的基础上,本章针对当代昆剧表演艺术传承中出现的问题,提出一些个人思考。整个昆剧表演演变的历史,核心就是以演员身体为载体的身段程式发展、定型和变化的历史。对于昆剧表演艺术而言,舞台美术、服装、化妆、灯光等舞台构成元素是附着于演员的身段程式表演并为其服务的。昆剧表演演变的历史中,始终不变的是昆剧艺术独特的美学特点和丰富的舞台表演基本技法,以及在昆剧艺术自身的美学框架内合理、精细地运用基本技法来表现生活情感的方方面面的舞台逻辑。这也是在当代复杂多变的社会背景下传承昆剧表演艺术所要把握的核心。
[Abstract]:The purpose of this paper is to sort out the evolution history of Kun Opera's performing art, analyze its internal motive force, and try to summarize some regular contents of its performance evolution. Especially under the circumstances that Kun Opera has the dual status of "intangible cultural heritage" and the current art form, this paper tries to analyze Kun Opera's performing art. This paper is divided into six parts: the first chapter is to make a clear understanding of the whole performance art of Kunqu Opera from a macroscopic perspective, from its dance. On the premise of clarifying the historical background and the inherent reasons of the historical status of Kun Opera as a "master of all kinds of operas", the second to fifth chapters take the natural evolution of time as the longitude and take the development of Kun Opera performing art as the thread. The second chapter mainly elaborates the "richness" of Kun Opera performing arts, and also sorts out the evolution of Kun Opera performance before the Qianjia period in the Qing Dynasty. This chapter is divided into two sections: the first section discusses the Kun Opera full play before the detailed records of Kun Opera body parts. The second section mainly discusses the historical background and process of the transformation of the mainstream performance mode of Kun Opera. The third chapter focuses on the beginning and end of the formation of the "Qianjia tradition" and its artistic features, which are regarded as the standard of contemporary Kun Opera performance. In the second section, taking the performance of the Peony Pavilion as an example, the artistic characteristics of the Qian-Jia tradition with the aim of "vivid spirit" are analyzed concretely. The fourth chapter continues to focus on the historical time line and focuses on the discussion. This chapter is divided into two sections: the first section deals with the evolution of Kun Opera Performing Arts in the late Qing Dynasty to the Republic of China. The second section discusses the new changes of Kun Opera Performing Arts in the socialist literary policy and the times after 1949. The fifth chapter focuses on the evolution of the performing arts of Kun Opera from a macro perspective, and explores what changes have taken place in the evolution of the performing arts of contemporary Kun Opera compared with the previous ones. The second section reflects on what artistic recessiveness has been lost in the inheritance of Kun Opera under the halo of "non-legacy". The last part is the conclusion and extension of the full text. Based on the analysis of the evolution of Kun Opera performance, this chapter puts forward some personal thoughts on the problems in the inheritance of Kun Opera performance art. In terms of art, stage art, costume, make-up, lighting and other stage elements are attached to the actor's stage performance and serve him. It is also the core of inheriting the performing arts of Kun Opera under the complicated and changeable social background.
【学位授予单位】：上海戏剧学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J82
本文编号：2197154
[Abstract]:The purpose of this paper is to sort out the evolution history of Kun Opera's performing art, analyze its internal motive force, and try to summarize some regular contents of its performance evolution. Especially under the circumstances that Kun Opera has the dual status of "intangible cultural heritage" and the current art form, this paper tries to analyze Kun Opera's performing art. This paper is divided into six parts: the first chapter is to make a clear understanding of the whole performance art of Kunqu Opera from a macroscopic perspective, from its dance. On the premise of clarifying the historical background and the inherent reasons of the historical status of Kun Opera as a "master of all kinds of operas", the second to fifth chapters take the natural evolution of time as the longitude and take the development of Kun Opera performing art as the thread. The second chapter mainly elaborates the "richness" of Kun Opera performing arts, and also sorts out the evolution of Kun Opera performance before the Qianjia period in the Qing Dynasty. This chapter is divided into two sections: the first section discusses the Kun Opera full play before the detailed records of Kun Opera body parts. The second section mainly discusses the historical background and process of the transformation of the mainstream performance mode of Kun Opera. The third chapter focuses on the beginning and end of the formation of the "Qianjia tradition" and its artistic features, which are regarded as the standard of contemporary Kun Opera performance. In the second section, taking the performance of the Peony Pavilion as an example, the artistic characteristics of the Qian-Jia tradition with the aim of "vivid spirit" are analyzed concretely. The fourth chapter continues to focus on the historical time line and focuses on the discussion. This chapter is divided into two sections: the first section deals with the evolution of Kun Opera Performing Arts in the late Qing Dynasty to the Republic of China. The second section discusses the new changes of Kun Opera Performing Arts in the socialist literary policy and the times after 1949. The fifth chapter focuses on the evolution of the performing arts of Kun Opera from a macro perspective, and explores what changes have taken place in the evolution of the performing arts of contemporary Kun Opera compared with the previous ones. The second section reflects on what artistic recessiveness has been lost in the inheritance of Kun Opera under the halo of "non-legacy". The last part is the conclusion and extension of the full text. Based on the analysis of the evolution of Kun Opera performance, this chapter puts forward some personal thoughts on the problems in the inheritance of Kun Opera performance art. In terms of art, stage art, costume, make-up, lighting and other stage elements are attached to the actor's stage performance and serve him. It is also the core of inheriting the performing arts of Kun Opera under the complicated and changeable social background.
【学位授予单位】：上海戏剧学院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J82
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