新时期以来福建戏曲创作研究
发布时间：2018-10-18 13:48
【摘要】：本文以新时期以来福建新编戏曲剧作为主要研究对象,通过“文人取向”与“民间立场”的双重审视,对1978年以来的福建戏曲创作进行整体把握与具体分析。在研究方法上,本文以文本细读与田野调查为主要手段,参考当下文学批评策略和文化研究理论,多角度探讨新时期以来福建戏曲创作的经验与教训。在结构上,本文根据近四十年来福建戏曲在剧本写作与舞台演出中的情况,围绕“情爱模式”“历史叙说”“游戏精神”“道德书写”四个核心部分展开论述,尝试改变“剧作家”与“剧作类型”的分类方式,以四个相对独立但又具备内在联系的模块架构全文。在正文论述中,本文论述的对象不仅包括名家名作,还包括民间剧团的保留剧目、未经正式出版的油印剧本,以及尚未得到应有关注的“被遗忘的剧本”等,在掌握大量资料、补充原有信息的基础之上,较为全面地反映了新时期以来福建剧坛的创作实况。在第一章中,本文以福建地方戏中的传统剧目作为参照,梳理出新时期以来福建剧作在情爱书写上的多重变化。总体而言,1980年代以后,情爱元素大多成为剧作的点缀,情爱故事的风格也从“才子佳人”式的青春灵动变为沉郁悲壮;而进入新世纪之后,地方戏曲的“艺术弹性”又促使“纯爱故事”回归,情爱书写的审美风格趋于多元。本文的第二章主要讨论福建戏曲剧作在叙说历史上的三条路径,同是以“历史”作为创作素材的来源,但剧作家们却采取了不同的叙说方式,在“艺术真实”的大前提下,或是追求“历史真实”,或是追求“情感真实”,或是在“历史的缝隙中”进行“戏说虚构”,不仅在文本创作上取得了成就,更在史剧观念上有所突破。本文的第三章聚焦“游戏精神”,讨论了科诨传统、丑角形塑在福建戏曲剧作中的表现,分析了剧作家如何对“县衙故事”进行戏剧化处理,最后强调了重视“游戏精神”的观点。第四章则围绕福建戏曲剧作的“道德内容”进行探究,不仅比较了两代剧作家对于传统道德的态度,还比较了“文人取向”与“民间立场”下道德准则的差异。于描述现状和勾勒特征之外,本文还特别针对现行戏曲评价标准展开讨论,强调“戏剧为上演而设”的特殊性质,指出戏曲复兴的路径在于巧妙平衡“文人取向”与“民间立场”、“文人趣味”与“民间趣味”之间的关系。在这一思路之下,本文认为剧作家应当为地方剧种的传承做出更多的担当,评论者则应尊重舞台规律,对创作实践提供更多的指导与观照。结论部分,本文更针对福建剧坛的创作瓶颈提出了对策与建议,希望能由“局部”而至“整体”,由福建而及全国,对新编戏曲的创作与修编提供更多的经验和启示。
[Abstract]:This article takes Fujian new opera since the new period as the main research object, through the "literati orientation" and "folk stand" double examination, to Fujian opera creation since 1978 to carry on the overall grasp and the concrete analysis. In terms of research methods, this paper takes the text reading and field investigation as the main means, referring to the current literary criticism strategy and cultural research theory, and probes into the experience and lessons of Fujian opera creation since the new period. In terms of structure, according to the situation of Fujian opera in script writing and stage performance in the past 40 years, this paper discusses the four core parts of "love mode", "historical narration", "game spirit" and "moral writing". This paper attempts to change the classification of "playwright" and "playwright type" by using four relatively independent but intrinsically related modules. In the main text, the objects of this article include not only the masterpieces, but also the reserved repertoire of folk theatrical troupes, unpublished mimeographs, and "forgotten plays", which have not yet received due attention. On the basis of supplementing the original information, it comprehensively reflects the creation of Fujian drama world since the new period. In the first chapter, taking the traditional plays in Fujian local opera as reference, the author sorts out the changes of love writing in Fujian opera since the new period. In general, since the 1980s, the elements of love have mostly become the embellishment of the plays, and the style of the love story has changed from the "talented and beautiful" style of youth to the melancholy and melancholy; and after entering the new century, The artistic elasticity of local opera promotes the return of pure love story, and the aesthetic style of love writing tends to be diversified. The second chapter mainly discusses the three paths of Fujian opera dramas in narrative history, both of which are "history" as the source of creative material, but the playwrights have adopted different narrative methods under the premise of "artistic truth". Either the pursuit of "historical reality", or the pursuit of "emotional reality", or "fiction in the gap of history", not only in the creation of the text, but also in the concept of historical drama has made a breakthrough. The third chapter focuses on the game spirit, discusses the performance of Kegao tradition and clown in Fujian opera, and analyzes how the playwright dramatizes the story of the county government. In the end, the author emphasizes the idea of attaching importance to the spirit of game. The fourth chapter focuses on the "moral content" of Fujian opera dramas, not only compares the traditional moral attitudes of the two generations of playwrights, but also compares the differences of moral norms under "literati orientation" and "folk stand". In addition to describing the present situation and outlining the characteristics, this paper also discusses the evaluation criteria of the current opera, and emphasizes the special nature of "drama for performance". It is pointed out that the path of revival lies in the balance between "literati orientation" and "folk standpoint", and the relationship between "literati taste" and "folk interest". Under this thought, the author thinks that playwrights should be more responsible for the inheritance of local plays, while critics should respect the law of stage and provide more guidance and reflection to the practice of creation. In the conclusion part, the author puts forward some countermeasures and suggestions in view of the bottleneck of Fujian opera creation, hoping to provide more experience and inspiration for the creation and revision of the new opera from "part" to "whole" and from Fujian to the whole country.
【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】：J809.2
，
本文编号：2279317
[Abstract]:This article takes Fujian new opera since the new period as the main research object, through the "literati orientation" and "folk stand" double examination, to Fujian opera creation since 1978 to carry on the overall grasp and the concrete analysis. In terms of research methods, this paper takes the text reading and field investigation as the main means, referring to the current literary criticism strategy and cultural research theory, and probes into the experience and lessons of Fujian opera creation since the new period. In terms of structure, according to the situation of Fujian opera in script writing and stage performance in the past 40 years, this paper discusses the four core parts of "love mode", "historical narration", "game spirit" and "moral writing". This paper attempts to change the classification of "playwright" and "playwright type" by using four relatively independent but intrinsically related modules. In the main text, the objects of this article include not only the masterpieces, but also the reserved repertoire of folk theatrical troupes, unpublished mimeographs, and "forgotten plays", which have not yet received due attention. On the basis of supplementing the original information, it comprehensively reflects the creation of Fujian drama world since the new period. In the first chapter, taking the traditional plays in Fujian local opera as reference, the author sorts out the changes of love writing in Fujian opera since the new period. In general, since the 1980s, the elements of love have mostly become the embellishment of the plays, and the style of the love story has changed from the "talented and beautiful" style of youth to the melancholy and melancholy; and after entering the new century, The artistic elasticity of local opera promotes the return of pure love story, and the aesthetic style of love writing tends to be diversified. The second chapter mainly discusses the three paths of Fujian opera dramas in narrative history, both of which are "history" as the source of creative material, but the playwrights have adopted different narrative methods under the premise of "artistic truth". Either the pursuit of "historical reality", or the pursuit of "emotional reality", or "fiction in the gap of history", not only in the creation of the text, but also in the concept of historical drama has made a breakthrough. The third chapter focuses on the game spirit, discusses the performance of Kegao tradition and clown in Fujian opera, and analyzes how the playwright dramatizes the story of the county government. In the end, the author emphasizes the idea of attaching importance to the spirit of game. The fourth chapter focuses on the "moral content" of Fujian opera dramas, not only compares the traditional moral attitudes of the two generations of playwrights, but also compares the differences of moral norms under "literati orientation" and "folk stand". In addition to describing the present situation and outlining the characteristics, this paper also discusses the evaluation criteria of the current opera, and emphasizes the special nature of "drama for performance". It is pointed out that the path of revival lies in the balance between "literati orientation" and "folk standpoint", and the relationship between "literati taste" and "folk interest". Under this thought, the author thinks that playwrights should be more responsible for the inheritance of local plays, while critics should respect the law of stage and provide more guidance and reflection to the practice of creation. In the conclusion part, the author puts forward some countermeasures and suggestions in view of the bottleneck of Fujian opera creation, hoping to provide more experience and inspiration for the creation and revision of the new opera from "part" to "whole" and from Fujian to the whole country.
【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】：J809.2
，
本文编号：2279317
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