山西孝义木偶戏的民俗文化探析

发布时间：2018-09-10 17:14

【摘要】：孝义木偶戏因其流传于山西孝义一带而得名,境内主要的木偶戏形式是杖头木偶戏。其特点是真人在下木偶在上演出,用中心木杖(又称作命杆或手枪棒)支撑木偶身体的重量,用两个侧面的手签支配木偶双手的运动,使得木偶做出类似真人的动作,并配以真人演唱来表演戏剧。孝义木偶戏并非本土所有,大约在宋代末年金代初年由当时的都城汴京北上传入境内。孝义木偶戏之所以能很快融入当地的文化传统,是因为孝义历来有演戏的习俗,除晋剧外,皮腔纸窗皮影戏是境内土生土长的戏剧形态。每逢岁时节日、人生仪礼举办之时,民间便有演戏祝愿的习俗。木偶戏在传入孝义之后,便和当地的皮影戏班社搭伙演出,这是民众用其有限的社会经验进行“理智”地资源配置的结果。木偶戏在长期的历史发展过程中逐渐成为孝义民众日常生活的一部分,看似纯物质的木偶制作技艺背后渗透着民众智慧的结晶。传统社会里,孝义木偶戏不仅是纯艺术的戏剧表演,它还是“仪式活动”的一部分,作为仪式戏剧,孝义木偶戏是美化民众生活、定义族群边界、强化社会秩序、传承民族记忆的文化展演。时代的发展带来了现代性,现代性在颠覆传统民间社会的同时,抽离了孝义木偶戏的仪式内涵,让孝义木偶戏只剩下外显的“木偶符号”。非物质文化遗产保护工程让“权力话语”介入孝义木偶戏的发展,围绕重构木偶戏“辉煌前景”的各利益团体也相继建立。因此,孝义木偶戏被作为“文化产品”且迎合大众的审美需求被建构,在这个过程中审美化的“木偶符号”被强化。本文绪论部分从三方面进行阐述。主要对论文的选题意义目的,研究现状与理论创新,所用研究方法以及论文写作过程中的不足之处加以说明。第一章为山西孝义木偶戏概说。首先溯源木偶戏,从上古时代的偶像崇拜说起,到后来集“丧葬—娱乐”色彩于一身的木偶,直至形态各异的木偶戏。之后介绍山西孝义杖头木偶戏的起源与发展以及其生成的自然与社会文化环境。第二章介绍构成孝义木偶戏的民俗资源,从静态的民俗资源和动态的木偶戏两个方面进行描述。最后从木偶戏剧目着手,解析孝义木偶戏独特的民俗文化内涵。第三章分析孝义木偶戏对民众生活所发挥的作用。首先重构传统社会里孝义木偶戏功能的“全景图”,进而指出新时期其功能的变迁,解析孝义木偶戏在孝义民众日常生活中地位变化的深层原因。第四章剖析在现代性语境下,左右孝义木偶戏发展状况的“利益机制”。并在“狂欢化”、“文化产品生产”、“日常生活审美化”理论的启发下,指出现代性洗礼下木偶戏审美特质的重要性。结语部分展望孝义木偶戏在现代社会的发展态势。未来的孝义木偶戏会在城市与乡村、传统剧目与创新剧目、新型载体与传统形式间出现分野。但孝义木偶戏的发展轨迹既不是形式上纯审美化的,也不是内容上纯消费性的,是两者之间的完美制衡点。
[Abstract]:Xiaoyi puppet show is famous for its popularity in the area of Xiaoyi, Shanxi Province. The main form of puppet play in the territory is the stick puppet show. It is characterized by a real person performing in the lower puppet, supporting the weight of the body of the puppet with a central stick (also known as a life pole or pistol stick), and controlling the movement of the hands of the puppet with two side signatures. Xiaoyi puppet show is not owned by the local people. It was uploaded from the capital of Bianjing in the late Song Dynasty and early Jin Dynasty. The puppet show was introduced into Xiaoyi and performed in partnership with the local shadow play troupes. This is the result of the rational allocation of resources by the people with their limited social experience. In traditional society, Xiaoyi puppet show is not only a pure art drama performance, but also a part of "ritual activities". As a ritual drama, Xiaoyi puppet show beautifies people's life. The development of the times has brought modernity. While subverting the traditional folk society, modernity has taken away the ritual connotation of Xiaoyi puppet show, leaving only the explicit "puppet symbols" in Xiaoyi puppet show. Therefore, Xiaoyi puppet show is constructed as a "cultural product" and caters to the aesthetic needs of the public. In this process, the aesthetic "puppet symbol" is strengthened.
The introduction part of this paper elaborates from three aspects, mainly explaining the significance of the topic, the research status and theoretical innovation, the research methods used and the inadequacies in the writing process.
The first chapter is a brief introduction of Shanxi Xiaoyi puppet opera.First, it traces back to the origin of puppet opera, from the idol worship in ancient times to the funeral-entertainment puppet opera, and then to the puppet opera of various forms.Then it introduces the origin and development of Shanxi Xiaoyi Zhuntou puppet opera and its natural and social and cultural environment.
The second chapter introduces the folk resources of Xiaoyi puppet opera, and describes them from two aspects: static folk resources and dynamic puppet opera.
The third chapter analyzes the role of Xiaoyi puppet show in people's life. Firstly, it reconstructs the "panorama" of the function of Xiaoyi puppet play in traditional society, then points out the changes of its function in the new period, and analyzes the deep reasons for the change of Xiaoyi puppet play's status in the daily life of Xiaoyi people.
The fourth chapter analyzes the "interest mechanism" that influences the development of Xiaoyi puppet show in the context of modernity, and points out the importance of the aesthetic characteristics of puppet show under the baptism of Modernity under the inspiration of the theories of "carnival", "cultural product production" and "daily life aestheticization".
The conclusion looks forward to the development of Xiaoyi puppet show in modern society. The future Xiaoyi puppet show will be divided between urban and rural, traditional and innovative repertoires, new carriers and traditional forms. But the development of Xiaoyi puppet show is neither purely aesthetic in form nor purely consumptive in content, but between the two. Perfect checks and balances.
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J827

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