本文選題：戲曲 + 禁毀�。� 參考：《華東師范大學》2010年碩士論文

【摘要】： 中國自宋代商業(yè)都市興起,許多民間的說唱,轉化為專業(yè)的表演藝術。明代商業(yè)經濟更加發(fā)達,尤其南方城市,民間包括戲曲演出在內的表演活動尤盛。這一趨向民間,也趨向娛樂的世俗化趨勢,發(fā)展至清代,聲勢更為浩大,終于蔚為中國民間文化的傳統(tǒng),堪與社會上層的“大傳統(tǒng)”相抗衡。本文試圖將清代禁毀戲曲置于禮樂系統(tǒng)和歷史文化背景中,采用戲曲研究與文化研究相結合的方法,借禁毀戲曲這一逆向視角探討清朝的禮樂教化之重構,以及雅俗文化,民間文化與上層文化之間的張力極其變遷。 本文第一章要闡述的是戲曲之禁毀的由來。戲曲之繁榮與否在其文化功能發(fā)揮的程度。發(fā)展至清代,戲曲已躍為一時之風尚,朝野內外演劇之風盛行。然宮廷內演劇絕對臣服于禮樂,盡管帝王享樂也是重要的一方面甚至在某些時候占主導地位,但從儀禮之程序和恩賞等等各方面來看,都需合朝廷禮數。而宮廷演劇之教化主張與雅化傾向和民間市場演劇逐利目標導引下的通俗化甚至庸俗化傾向之間形成了明顯張力。這便是戲曲之禁毀一個重要背景。 本文第二章則旨在延續(xù)上文具體分析清代之禁戲律令。清代禁戲律令,上承前朝,多出于風俗教化之慮。不同的是清朝尤其清初民族與文化沖突問題突出,文字獄頻繁,戲曲小說類通俗文化也難幸免,凡有涉獵明季國初野史或南宋抗金問題等有“詆觸本朝之語”的劇本多難逃禁飭惡運。戲曲之禁毀除禁各類聲腔與劇目之外,也有對觀戲、設戲園、蓄養(yǎng)優(yōu)伶等戲曲本體之外的禁令。
[Abstract]:Since the rise of commercial cities in the Song Dynasty, many folk rap have turned into professional performing arts. Ming Dynasty commercial economy more developed, especially in southern cities, folk performances, including operas are flourishing. This trend towards folk, but also tend to the secular trend of entertainment, developed to the Qing Dynasty, the momentum is even greater, and finally become the tradition of Chinese folk culture, can compete with the upper class of society "big tradition". This paper tries to put the forbidden opera in the system of ritual and music and the historical and cultural background in the Qing Dynasty. By combining the research of drama with the study of culture, this paper tries to discuss the reconstruction of ritual and music education in Qing Dynasty and the culture of elegance and vulgarity through the reverse perspective of banning and destroying opera. The tension between folk culture and upper culture is extremely changing. The first chapter of this article is to explain the origin of the prohibition of drama. The degree of prosperity of opera in its cultural function. To the Qing Dynasty, opera has become a temporary fashion, both inside and outside the play prevailing. Although imperial pleasure is also an important aspect, even in some cases, but from the ceremony of the procedure and bounty, and so on, it is necessary to conform to the court etiquette. However, there is an obvious tension between the proposition of court drama education and the tendency of elegance and folk market drama leading to popularization or even vulgarization. This is an important background to the prohibition of opera. The second chapter of this paper aims to continue the above specific analysis of the Qing Dynasty. The Qing Dynasty forbids the drama law, inherits the previous dynasty, many out of custom enlightenment consideration. The difference is that in the Qing Dynasty, especially in the early Qing Dynasty, the issue of ethnic and cultural conflicts was prominent, the text was in prison frequently, and the popular culture of traditional Chinese opera and novels was hard to escape. Where there is a wild history of the early Ming Dynasty or the Southern Song Dynasty resistance to gold, such as "disparaging the language of this dynasty," the script can not escape to punish bad luck. In addition to banning all kinds of vocals and repertoire, there are also prohibitions on watching opera, setting up theatrical gardens, and storing and raising excellent music.
【學位授予單位】：華東師范大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：K249

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