印度尼西亚华人布袋戏的历史、演出形态与音乐
发布时间：2018-10-26 06:37
【摘要】：尽管华人移民至印度尼西亚已有数百年之久,然而1965年印度尼西亚政府新秩序政策(New Order Policy)却制定了许多不利于华人文化发展的政策,导致印度尼西亚华人布袋戏的演出发生了内容与形态的改变。以布袋戏的演出为例,印度尼西亚华人为了维持与母国文化的联系,一直在努力维护以往庙会的表演方式与布偶形态,但在印度尼西亚政府的压迫之下,华人为了维护传统文化的生存,而不得不采用了许多不同于以往的做法。为了能深入了解华人布袋戏在印度尼西亚的发展,本文将以印度尼西亚华人布袋戏发展的历史与社会环境、操偶师的养成、现今华人布袋戏演出形态、布袋戏后场音乐的类型与演变,四个方向为研究重心。
[Abstract]:Although it has been hundreds of years since the Chinese emigrated to Indonesia, in 1965 the Indonesian government's new order policy, (New Order Policy), formulated many policies that were not conducive to the development of Chinese culture. As a result, the performance of Indonesian Chinese puppetry has changed in content and form. Take theatrical performances as an example. In order to maintain cultural ties with their home countries, the Indonesian Chinese have been trying to preserve the performance methods and the puppet form of previous temple fairs, but under the pressure of the Indonesian government, In order to maintain the survival of traditional culture, Chinese have to adopt many different ways. In order to gain an in-depth understanding of the development of the Chinese puppetry in Indonesia, this paper will use the historical and social environment of the development of the Indonesian Chinese puppet play, the cultivation of the master, and the present performance pattern of the Chinese puppetry. The types and evolution of the music in the back stage of the puppet play are the focus of the research.
【作者单位】： 台湾台南艺术大学民族音乐学研究所;
【分类号】：J835;J617.5
，
本文编号：2294868
[Abstract]:Although it has been hundreds of years since the Chinese emigrated to Indonesia, in 1965 the Indonesian government's new order policy, (New Order Policy), formulated many policies that were not conducive to the development of Chinese culture. As a result, the performance of Indonesian Chinese puppetry has changed in content and form. Take theatrical performances as an example. In order to maintain cultural ties with their home countries, the Indonesian Chinese have been trying to preserve the performance methods and the puppet form of previous temple fairs, but under the pressure of the Indonesian government, In order to maintain the survival of traditional culture, Chinese have to adopt many different ways. In order to gain an in-depth understanding of the development of the Chinese puppetry in Indonesia, this paper will use the historical and social environment of the development of the Indonesian Chinese puppet play, the cultivation of the master, and the present performance pattern of the Chinese puppetry. The types and evolution of the music in the back stage of the puppet play are the focus of the research.
【作者单位】： 台湾台南艺术大学民族音乐学研究所;
【分类号】：J835;J617.5
，
本文编号：2294868
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