晋剧“爱爱腔”流派的艺术探究
发布时间：2018-11-08 12:31
【摘要】：中华戏曲作为世界三大古老戏剧唯一流传至今且还在乡村舞台上演的艺术表演形式,可谓渊源流长。山西作为戏曲的摇篮,从北宋孔三传的诸宫调研究奠定了我国戏曲音乐形成之最后一块基石,可证山西戏曲的重要地位。即使在诸多剧种濒危的当下,山西戏曲种类仍约占全国总数的五分之一。晋剧作为山西戏曲之典型代表,位于四大梆子之首,发端于明中叶,在晋商鼎力支持下健步发展,终得观众喜爱,盛行于山西晋中、晋北,陕西北部、内蒙古南部的部分地区。2006年5月20日,经由国务院批准,晋剧列入第一批国家级非物质文化遗产名录。晋剧的发展蜕变,形成了其独特的艺术风格,锤炼了诸多演唱流派,其中以“爱爱腔”为最。本文从优秀晋剧表演艺术家、“晋剧皇后”王爱爱的艺术生涯切入,通过面对面采访王爱爱本人,了解其从艺经历,形成王爱爱的口述史,并辅以相关文献和戏剧专家郭士星、晋剧表演艺术家武凌云、孙丽芳等的佐证,以证明口述研究材料的真实有效性。之后,梳理“爱爱腔”形成发展过程,总结其艺术特征和传承所面对的问题,并给出本文的思考,以让更多人——尤其是年轻人了解晋剧、喜欢晋剧、爱上晋剧。全文共计六个部分:绪论阐述本文的写作目的和意义、研究问题已取得的成果和尚未解决的问题、研究的方法和目标以及本文的创新之处。第一章较为详细地梳理了王爱爱近七十年的艺术生涯;第二章在实际采访王爱爱本人、戏剧专家郭士星、优秀晋剧艺术家武凌云、孙丽芳的基础上整理归纳王爱爱“爱爱腔”流派的形成和发展;第三章分析“爱爱腔”流派的艺术特色,结合声乐发声机理,从音乐声学的角度对“爱爱腔”的发声特点进行探究和阐释;第四章从王爱爱“爱爱腔”的发展流行引发思索,结合现代晋剧《守护夕阳》及对国家一级编剧、导演王小东的采访,对面对现代社会,如何能够将晋剧(传统文化)在不失其传统特色特点的前提之下更好的传承、保护做出思考。结论部分对全文整体概述,站在我们每一个音乐学习者的角度,结合习总书记在文艺工作座谈会上的讲话,希望能够对中华民族五千年的文化繁荣壮大贡献一份力量。
[Abstract]:Chinese opera, as the only one of the three ancient dramas in the world, has a long history. Shanxi, as the cradle of opera, has established the last cornerstone of the formation of Chinese opera music from the study of the three legends of the Song Dynasty, which can prove the important position of Shanxi opera. Even at a time when many operas are endangered, Shanxi opera still accounts for about 1/5 of the country's total. Jin opera as a typical representative of Shanxi opera, located at the head of the four Bangzi, the beginning of Yu Ming, with the great support of Shanxi merchants to develop, finally won the audience love, prevailing in Shanxi Jinzhong, North Shanxi, northern Shaanxi, Part of southern Inner Mongolia. Approved by the State Council on May 20, 2006, Jin Opera was included in the first batch of national intangible cultural heritage lists. The development and transformation of Jin Opera formed its unique artistic style, and tempered a lot of singing schools, among which, Love cavity was the most important. This article begins with the artistic career of Wang Aiai, an outstanding performing artist of Jin Opera and "Queen of Jin Opera", through face-to-face interview with Wang Aiai himself, to understand his art experience, to form the oral history of Wang Aiai, and to be supplemented by relevant literature and drama expert Guo Shixing. Jin opera performance artists Wu Lingyun, Sun Lifang and others to prove the authenticity of oral research materials. Then, combing the formation and development process of "Love", summarizing its artistic characteristics and problems faced by inheritance, and giving some thoughts in this paper, in order to let more people, especially young people, understand Jin Opera, like Jin Opera, love Jin Opera. The thesis consists of six parts: the introduction expounds the purpose and significance of this paper, the achievements of the research and the unsolved problems, the methods and objectives of the research, and the innovations of this paper. The first chapter combs Wang Aiai's artistic career in more detail. The second chapter is based on the actual interview with Wang Aiai himself, drama expert Guo Shixing, outstanding Jin opera artists Wu Lingyun and Sun Lifang. The third chapter analyzes the artistic characteristics of the "Love cavity" school, combined with the vocal sound mechanism, from the perspective of musicology to explore and explain the vocal characteristics of "Love cavity"; In the fourth chapter, from the development and popularity of Wang Aiai's "Love and Love cavity", thinking about it, combining the modern Jin drama "guarding the sunset" and interviews with the national first-level screenwriter and director Wang Xiaodong, facing the modern society, How can Jin opera (traditional culture) be better inherited and protected without losing its traditional characteristics. In the conclusion part, from the point of view of each of our music learners and combining with the speech made by General Secretary Xi at the symposium on literature and art work, we hope to contribute a part to the cultural prosperity and growth of the Chinese nation for five thousand years.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J825
本文编号：2318512
[Abstract]:Chinese opera, as the only one of the three ancient dramas in the world, has a long history. Shanxi, as the cradle of opera, has established the last cornerstone of the formation of Chinese opera music from the study of the three legends of the Song Dynasty, which can prove the important position of Shanxi opera. Even at a time when many operas are endangered, Shanxi opera still accounts for about 1/5 of the country's total. Jin opera as a typical representative of Shanxi opera, located at the head of the four Bangzi, the beginning of Yu Ming, with the great support of Shanxi merchants to develop, finally won the audience love, prevailing in Shanxi Jinzhong, North Shanxi, northern Shaanxi, Part of southern Inner Mongolia. Approved by the State Council on May 20, 2006, Jin Opera was included in the first batch of national intangible cultural heritage lists. The development and transformation of Jin Opera formed its unique artistic style, and tempered a lot of singing schools, among which, Love cavity was the most important. This article begins with the artistic career of Wang Aiai, an outstanding performing artist of Jin Opera and "Queen of Jin Opera", through face-to-face interview with Wang Aiai himself, to understand his art experience, to form the oral history of Wang Aiai, and to be supplemented by relevant literature and drama expert Guo Shixing. Jin opera performance artists Wu Lingyun, Sun Lifang and others to prove the authenticity of oral research materials. Then, combing the formation and development process of "Love", summarizing its artistic characteristics and problems faced by inheritance, and giving some thoughts in this paper, in order to let more people, especially young people, understand Jin Opera, like Jin Opera, love Jin Opera. The thesis consists of six parts: the introduction expounds the purpose and significance of this paper, the achievements of the research and the unsolved problems, the methods and objectives of the research, and the innovations of this paper. The first chapter combs Wang Aiai's artistic career in more detail. The second chapter is based on the actual interview with Wang Aiai himself, drama expert Guo Shixing, outstanding Jin opera artists Wu Lingyun and Sun Lifang. The third chapter analyzes the artistic characteristics of the "Love cavity" school, combined with the vocal sound mechanism, from the perspective of musicology to explore and explain the vocal characteristics of "Love cavity"; In the fourth chapter, from the development and popularity of Wang Aiai's "Love and Love cavity", thinking about it, combining the modern Jin drama "guarding the sunset" and interviews with the national first-level screenwriter and director Wang Xiaodong, facing the modern society, How can Jin opera (traditional culture) be better inherited and protected without losing its traditional characteristics. In the conclusion part, from the point of view of each of our music learners and combining with the speech made by General Secretary Xi at the symposium on literature and art work, we hope to contribute a part to the cultural prosperity and growth of the Chinese nation for five thousand years.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J825
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