本文選題：宋代 + 傀儡戲��； 參考：《首都師范大學》2007年博士論文

【摘要】： 傀儡,是指以具有可塑性的材質(zhì)制作而成,可以被外力操控而動的擬人形物�？軕�,是指傀儡師操縱傀儡,使之做出的體現(xiàn)他預定意圖的表演。廣義的傀儡戲包括以傀儡進行的歌舞、戲曲、百戲、儀式戲劇等。本文更多地采用其狹義的內(nèi)涵,即以傀儡代言角色,進行一個既定故事的表演。 我國的傀儡戲自漢代初現(xiàn)端倪,唐代漸趨完善,至宋代則呈現(xiàn)出大盛的局面。宋后,在戲曲的強勢沖擊下,傀儡戲盛景不再,但它并沒有絕對地衰落,甚至消亡,而是依附于戲曲、民俗等載體之上,頑強地生存至今。 本文研究的對象是宋代傀儡戲。全文分五章: 第一章討論傀儡戲的源流。辨析前人幾種傀儡戲起源觀,提出自己的“民間游戲說”;并指出其形成于南北朝時期;以時間為序,簡述中國傀儡戲由隋唐至今的發(fā)展歷程。 第二章梳理有關宋代傀儡戲的文獻及文物資料,并逐條加以簡評。揀摘相關史籍筆記資料二十九條;對十一種傀儡戲文物進行述評。 第三章研究宋代傀儡戲的物理形態(tài),論證杖頭傀儡是由唐宋時的“磨合羅”演化而來;藥發(fā)傀儡是以某種機械裝置提供動力,在預設的軌道上表演預定動作的傀儡形態(tài);肉傀儡是以小兒后生模仿杖頭、懸絲傀儡而來,所以具有兩種形態(tài);影戲的遠源是唐代的俗講變文,于北宋初期逐漸成形,它與我國早期的“弄影巫術”并無關系,其本質(zhì)上應是一種動畫戲。 第四章分析宋代傀儡戲的藝術形態(tài)以及繁盛原因�？甲C宋代傀儡戲可能采用的器樂、歌唱及劇本的文學形態(tài);逐一分析政治、經(jīng)濟等可能造就宋代傀儡戲盛景的因素;指出鮑老的形象是由小兒或侏儒佩戴面具,模仿老年人的動作,主要特點是滑稽,戲劇的成分并不多。宋代人將鮑老歸入傀儡的行列,說明當時傀儡戲已經(jīng)非常深入日常生活,也可作為宋代傀儡戲繁盛的一個佐證。 第五章探討宋代傀儡戲與中國古典戲曲發(fā)生之間的關系。在對幾種戲曲起源理論簡要辨析之后,用一定篇幅對孫楷第先生所提出的“傀儡說”進行闡述、辨訛以及補正。并在此基礎上,對中國戲曲發(fā)生的時間和構成要素分別展開論述。最后以模式猜想的形式闡明自己的觀點:我國戲曲萌芽于南北朝,起源于唐代,最終形成于兩宋時期。應該從兩方面來評價戲曲的形成,一是其藝術源頭,分別可從其音樂、文學、表演等角度考得,是多元而不是單一的,宋代傀儡戲在其中地位重要;而將這些形式要素與內(nèi)容要素綜合在一起的客觀條件,就是宋代文化市場的形成和不斷的完善。
[Abstract]:Puppets are humanoid objects made of plastic materials that can be manipulated by external forces. A puppet play is a performance by which a puppet master manipulates a puppet and makes it manifest his intended intention. In a broad sense, puppetry includes singing and dancing with puppets, opera, drama, ritual drama and so on. This paper adopts its narrow meaning, that is, acting as a puppet character. Since the beginning of the Han Dynasty, the puppet drama of our country appeared, and gradually improved in the Tang Dynasty, and then appeared the situation of the great prosperity in the Song Dynasty. After the Song Dynasty, under the strong impact of the opera, the puppet play was no longer prosperous, but it did not absolutely decline, or even die out, but attached to the opera, folklore and other carriers, tenaciously survive up to now. The object of this paper is the puppet play of the Song Dynasty. The full text is divided into five chapters: The first chapter discusses the origin of puppet drama. This paper analyzes the origin of several puppet operas, puts forward his own "folk game theory", and points out that it was formed in the Southern and Northern dynasties. In the order of time, the development of Chinese puppet drama from Sui and Tang dynasties to the present is briefly described. The second chapter combs the literature and cultural relics of puppet drama in Song Dynasty, and reviews them one by one. Select 29 related historical notes and review 11 kinds of puppet play relics. The third chapter studies the physical form of the puppet drama of the Song Dynasty, demonstrates that the puppet at the head of the staff evolved from the "run-in" in the Tang and Song dynasties, and that the puppet of the drug hair is the puppet form that performs the predetermined action on the preset track with some kind of mechanical device. Meat puppets come from children born after birth to imitate the head of the staff and the hanging silk puppets, so they have two forms. The far source of the shadow play is the folklore of the Tang Dynasty, which gradually took shape in the early Northern Song Dynasty. It has nothing to do with the early "Shadow Witchcraft" of our country. In essence, it should be an animated play. Chapter four analyzes the artistic form and the reason of prosperity of puppet play in Song Dynasty. A textual study of the instrumental music, singing and script forms that may be used in the puppet dramas of the Song Dynasty; an analysis of the political and economic factors that may contribute to the prosperity of the puppet dramas of the Song Dynasty; and a point out that the image of Bao Lao was worn by children or dwarfs. The main characteristic of imitating the old man's action is funny, and the drama is not much. The people of Song Dynasty classified Bao Lao into the ranks of puppets, which showed that puppet plays at that time had been very deep in daily life and could also be used as a proof of the prosperity of puppet plays in Song Dynasty. The fifth chapter discusses the relationship between puppet play and classical Chinese opera in Song Dynasty. After a brief analysis of the theories of the origin of several kinds of operas, this paper expounds, distinguishes and corrects the puppet theory put forward by Mr. Sun Kai. On this basis, the time and elements of the occurrence of Chinese opera are discussed respectively. At last, the author expounds his point of view in the form of mode conjecture: Chinese opera originated in the Southern and Northern dynasties, originated in the Tang Dynasty and finally formed in the Song Dynasty. The formation of opera should be evaluated from two aspects. One is the origin of its art, which can be obtained from the angles of music, literature, performance and so on. It is pluralistic, not single, and the puppet play of the Song Dynasty plays an important role in it. The objective condition of synthesizing these elements of form and content is the formation and continuous perfection of the cultural market in Song Dynasty.
【學位授予單位】：首都師范大學
【學位級別】：博士
【學位授予年份】：2007
【分類號】：K244;J809.2

【引證文獻】

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本文編號：1894266