浦江乱弹什锦班的调查与研究
发布时间：2018-08-24 18:15
【摘要】：浦江乱弹,婺剧六大声腔之一,因源于浦江故得其名,是在浙中地区流传了300余年的戏曲剧种,曾经班社林立,异常兴盛,深为大家熟知和喜爱。然而如今的浦江乱弹却陷入了生存和危机之中：表演团体萎缩,原有风貌丧失；浙江婺剧团、衢州婺剧团虽把浦江乱弹作为主要声腔,但表演风格和艺术特色也发生了很大变化,早已不是原汁原味；在浦江也只能在个别社区和少数乡村里才能看到乱弹的表演,并且乱弹音乐的某些优秀传统也在逐渐的遗失。 浦江乱弹什锦班发轫于宋朝,靖康之难后,宋廷南迁,定都临安,瓦子开始流行,北方的说唱艺术也在南方风靡起来,于是浦江就出现了讲唱表演艺术团体——什锦班。自南宋末年至明朝中叶的数百年间,浦江一直以讲唱艺术“什锦班”的形式流行于世,经久不衰。到了明朝中叶,浦江乱弹始由坐唱搬上舞台,在1966年的一百多年间,全县创建的什锦班多达一千多个,足见其强大的生命力。如今在随着专业剧团和农村剧团的纷纷解散,什锦班无疑又担当起传播和保护浦江乱弹的重要使命。不过,社会政治、经济和文化的变迁对浦江乱弹什锦班产生了不同程度的影响,从班社的生存空间到组织模式,从演员的身份、地位到演员的观念、行为,以及乱弹音乐的传承都发生了较大变化,但我们也看到因传统力量影响而相对稳定的因素。 本文立足于音乐人类学的研究视角,以蒂莫西·赖斯(Timthy Rice)的“历史构成—社会维持—个体的创造和体验”模式为主要理论依据,探讨浦江乱弹什锦班及与之相关的历史、社会、演员和音乐等因素的关系,对其进行初步的描述和人类学阐释。
[Abstract]:One of the six major vocals of Pujiang River, Wuju Opera, which has been circulating in the middle of Zhejiang for more than 300 years, has been widely known and loved by all. However, today's Pujiang slug is caught in survival and crisis: the performing group shrinks and the original style is lost; although the Zhejiang Wuju Opera troupe and the Quzhou Opera Troupe regard the Pujiang slug as their main voice, However, the performance style and artistic characteristics have also changed a lot, not original; in Pujiang can only be seen in individual communities and a few villages, and some of the good tradition of playing music is gradually lost. Pujiang Shinjian classes began in the Song Dynasty. After Jingkang's difficulties, the Song Dynasty moved southward, and the capital, Lin'an, became popular. The northern rap art was also popular in the south. So Pujiang River appeared a group of singing and speaking performing arts groups-assorted classes. From the end of the Southern Song Dynasty to the middle of the Ming Dynasty, Pujiang has long been popular in the form of "assorted classes". By the middle of the Ming Dynasty, Pujiang was moved to the stage by singing and sitting. In 1966, more than a thousand classes were created in the county, showing its strong vitality. Now, with the disbanding of professional and rural troupes, it is undoubtedly an important mission to spread and protect the Pujiang River. However, the social, political, economic and cultural changes have had a varying degree of influence on the Pujiang River, from its living space to its organizational model, from the identity and status of the actors to the concepts and behaviors of the actors. The inheritance of tumble music has changed greatly, but we also see the factors that are relatively stable because of the influence of traditional forces. Based on the perspective of musical anthropology and the model of "historical constitution-social maintenance-individual creation and experience" by Timothy Rice (Timthy Rice), this paper discusses the history and society of Pujiang River. The relationship between actors and music, such as the preliminary description and anthropological interpretation.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J825
本文编号：2201636
[Abstract]:One of the six major vocals of Pujiang River, Wuju Opera, which has been circulating in the middle of Zhejiang for more than 300 years, has been widely known and loved by all. However, today's Pujiang slug is caught in survival and crisis: the performing group shrinks and the original style is lost; although the Zhejiang Wuju Opera troupe and the Quzhou Opera Troupe regard the Pujiang slug as their main voice, However, the performance style and artistic characteristics have also changed a lot, not original; in Pujiang can only be seen in individual communities and a few villages, and some of the good tradition of playing music is gradually lost. Pujiang Shinjian classes began in the Song Dynasty. After Jingkang's difficulties, the Song Dynasty moved southward, and the capital, Lin'an, became popular. The northern rap art was also popular in the south. So Pujiang River appeared a group of singing and speaking performing arts groups-assorted classes. From the end of the Southern Song Dynasty to the middle of the Ming Dynasty, Pujiang has long been popular in the form of "assorted classes". By the middle of the Ming Dynasty, Pujiang was moved to the stage by singing and sitting. In 1966, more than a thousand classes were created in the county, showing its strong vitality. Now, with the disbanding of professional and rural troupes, it is undoubtedly an important mission to spread and protect the Pujiang River. However, the social, political, economic and cultural changes have had a varying degree of influence on the Pujiang River, from its living space to its organizational model, from the identity and status of the actors to the concepts and behaviors of the actors. The inheritance of tumble music has changed greatly, but we also see the factors that are relatively stable because of the influence of traditional forces. Based on the perspective of musical anthropology and the model of "historical constitution-social maintenance-individual creation and experience" by Timothy Rice (Timthy Rice), this paper discusses the history and society of Pujiang River. The relationship between actors and music, such as the preliminary description and anthropological interpretation.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J825
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