【摘要】：山西太原的廟前高蹺是獨具地方特色的民間傳統(tǒng)表演藝術，也是太原地區(qū)較出名的社火表演之一�，F(xiàn)今，在我國大力提倡“弘揚民間藝術、保護民間文化遺產(chǎn)”大背景下，在社會上消失了三十多年的廟前高蹺又一次重生，并迎來了嶄新的輝煌，廟前高蹺藝術團的成立，非物質(zhì)文化遺產(chǎn)申報的成功，再加之媒體不斷的關注報道，高蹺藝人的頻頻獲獎。 面對廟前高蹺如今的發(fā)展，國家、政府和社會的有識之士都給予極大的支持，可廟前高蹺的發(fā)展并不樂觀，人員上面臨青黃不接，技能上絕活難以施展，面對這樣的現(xiàn)狀，這群年紀較大的高蹺老藝人使出了渾身解數(shù)，想把這門技藝傳承。他們先是制定培養(yǎng)傳承人的目標；又借著大量的演出來為廟前高蹺做宣傳；但所做的還遠遠達不到他們的期望目標，來報名的人寥寥無幾，宣傳在社會中起不到反響。 本文試從廟前高蹺的歷史本源、文化內(nèi)涵和發(fā)展現(xiàn)狀進行簡單闡述，，并采訪廟前高蹺傳承人，以兩位代表性傳承人為主，敘述他們的生活史，從而重點關注廟前高蹺的傳承方式、特點及現(xiàn)代變遷，對其傳承情況做較為系統(tǒng)的探討。筆者認為，廟前高蹺的發(fā)展有著太多的困難與問題，首先，社會背景的改變，公眾取向的選擇，使廟前高蹺發(fā)展的空間萎縮；其次，傳承人老齡化，技藝難以施展，廟前高蹺的傳承狀況面臨青黃不接的現(xiàn)狀；最后，政府支持力度薄弱，保護機制不完善。由此看來，廟前高蹺想要發(fā)展的首要問題，應該是傳承問題，如果我們不及時為它尋找傳承人，在不久的將來，這一民間文化將會面臨失傳的危機。筆者希望通過本文可以為廟前高蹺的傳承提供點可行性意見和建議，同時為廟前高蹺探尋一個得以生存的空間。
[Abstract]:Stilt in front of Shanxi Taiyuan Temple is a folk traditional performing art with unique local characteristics. It is also one of the more famous performances in Taiyuan. Nowadays, against the background of promoting folk art and protecting folk cultural heritage in our country, stilts in front of the temple, which has disappeared for more than 30 years in the society, have been reborn again, and ushered in a new brilliance. The art troupe of stilts in front of the temple was established. The success of the declaration of intangible cultural heritage, coupled with the constant media attention, stilts artists frequently won prizes. In the face of the development of stilts in front of the temple today, people of insight from the state, government and society have all given great support, but the development of stilts in front of the temple is not optimistic, people are facing difficulties in developing their skills, and it is difficult to display their skills. In the face of such a situation, The older stilt artists tried their best to pass on the technique. They first set goals for the cultivation of inheritors; they used a large number of performances to promote stilts in front of the temple; but what they did fell far short of their expectations, and there were very few people to sign up for, and propaganda did not reverberate in society. This article tries to briefly explain the historical origin, cultural connotation and development status of stilts in front of the temple, and interview the inheritors of stilts in front of the temple, mainly by two representative inheritors, and narrate their life history. Focus on the way of inheritance, characteristics and modern changes of stilts in front of the temple. The author believes that there are too many difficulties and problems in the development of stilts in front of the temple. Firstly, the change of social background and the choice of public orientation make the space for the development of stilts in front of the temple shrink. Secondly, the aging of inheritors, skills are difficult to display, the inheritance of stilts in front of the temple is faced with the status quo; finally, the government support is weak, the protection mechanism is not perfect. In view of this, the most important issue for the development of stilts in front of the temple should be inheritance. If we do not find the inheritors for it in time, this folk culture will be faced with a lost crisis in the near future. The author hopes that this paper can provide some feasible suggestions for the inheritance of stilts in front of the temple, and at the same time, explore a living space for stilts in front of the temple.
【學位授予單位】：山西師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：K892.24

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