本文選題：新昌調(diào)腔　切入點(diǎn)：人類表演學(xué)　出處：《上海戲劇學(xué)院》2016年博士論文

【摘要】：調(diào)腔自元朝南北聲腔交流而產(chǎn)生,劇目分古戲、時(shí)戲及目連戲三大類。音樂特色之一是幫腔和疊板,部份傳統(tǒng)戲碼仍以“不托絲竹,鑼鼓助節(jié),前場(chǎng)啟齒,后場(chǎng)幫接”的古老干唱形式演出,即不用絲弦、僅以打擊樂伴奏,而俗稱“后場(chǎng)”的樂隊(duì)更兼負(fù)幫腔及接腔的角色。新昌調(diào)腔劇團(tuán)指出調(diào)腔至今已有超過(guò)六百年歷史,明清兩代班社曾遍及杭、婺、紹、甬、臺(tái)、溫各地,清末民初由盛轉(zhuǎn)衰,至今僅新昌一隅存演,如何保存這歷來(lái)的“表演傳統(tǒng)”成為了政府與學(xué)者爭(zhēng)相呼吁的當(dāng)務(wù)之急。霍布斯鮑姆(Eric Hobsbawm)在《傳統(tǒng)的發(fā)明》(The Invention of Tradition)一書上提到,許多古老的“傳統(tǒng)”,其起源時(shí)間是相當(dāng)晚近的,但往往與具有重大歷史意義的過(guò)去產(chǎn)生連結(jié)。筆者認(rèn)為當(dāng)代戲曲研究者在描述傳統(tǒng)戲曲時(shí),不應(yīng)籠統(tǒng)、定型化的一概而論,而是應(yīng)該帶有時(shí)間階段的意義去審視其變化的過(guò)程,因此筆者欲以浙江省新昌縣中的調(diào)腔藝術(shù)作為研究對(duì)象,試著以前人的研究成果為基礎(chǔ),對(duì)于新昌調(diào)腔自1634年以來(lái)的發(fā)展進(jìn)行深度的記錄與解讀,觀察這段時(shí)間內(nèi)調(diào)腔的傳承與發(fā)展。本研究的目的并非推翻過(guò)去的總體敘述,更非否決前人的論點(diǎn),自行標(biāo)新立異地挖掘新的調(diào)腔歷史,而是從各方呼吁“恢復(fù)傳統(tǒng)”的語(yǔ)境出發(fā),對(duì)目前現(xiàn)有的史料文獻(xiàn)、實(shí)地的田野調(diào)查,進(jìn)行爬梳與判別,進(jìn)一步去做細(xì)部而且深入的詮釋及研究,記錄下調(diào)腔戲曲藝術(shù)傳統(tǒng)演變的途徑,并試圖解決調(diào)腔藝術(shù)在繼承過(guò)程中對(duì)于“傳統(tǒng)”一詞所存在的疑慮,借此拋磚引玉,讓更多的學(xué)者們?cè)谖磥?lái)的研究中,可以注意到,“傳統(tǒng)”一詞并非只是與“現(xiàn)代”對(duì)立的一個(gè)詞,而是具有時(shí)間和階段性的演變歷程。本研究從調(diào)腔形成背景入手,從地域關(guān)系、民間信仰為調(diào)腔的形成背景進(jìn)行分析。希望借由新昌、紹興等地方志,察看歷史文獻(xiàn)中對(duì)于調(diào)腔的記錄,同時(shí)也從儒釋道的文化觀所產(chǎn)生的目連戲中論及宗教戲曲對(duì)于調(diào)腔的影響。同時(shí),也會(huì)對(duì)對(duì)調(diào)腔的淵源進(jìn)行評(píng)述,自1950年以來(lái)有許多學(xué)者對(duì)于調(diào)腔的淵源產(chǎn)生分歧與論辯,筆者總括為三大源流:南腔北調(diào)、余姚腔、弋陽(yáng)腔,并分別爬梳資料,闡釋其說(shuō)法,找出這三家論述的邏輯與矛盾處,同時(shí)透過(guò)學(xué)者的意見,探討調(diào)腔“傳統(tǒng)”之意義。接下來(lái),從清代開始,分述調(diào)腔由盛轉(zhuǎn)衰的原因,同時(shí)再以50年代戲曲改革到納入國(guó)家級(jí)首批“非物質(zhì)文化遺產(chǎn)”名單這段歷史為討論要點(diǎn),論及當(dāng)代政府、企業(yè)所進(jìn)行的贊助推廣活動(dòng)。最后論文提出對(duì)于調(diào)腔傳承與發(fā)展的建議,希望能夠借此獲得更多人對(duì)于調(diào)腔的關(guān)注。
[Abstract]:The tunes come from the exchanges between the north and the south of the Yuan Dynasty. The repertoire is divided into three categories: the ancient opera, the time play and the mulian opera. One of the musical features is the help cavity and the folding plate. Some of the traditional operas are still in the form of "no silk bamboo, no gongs and drums to help the festival", and the front stage. The old dry singing form of "backcourt support", that is, no strings, only percussion accompaniment, and the band, commonly known as "backcourt," also played a role in helping and connecting. The Xinchang tune troupe points out that the tunes have a history of more than 600 years. In the Ming and Qing dynasties, the Banca had spread over Hangzhou, Wu, Shao, Yong, Taiwan, Wen, and the late Qing Dynasty and the beginning of the Republic of China from prosperity to decline. Up to now, only a corner of Xinchang has been performed. How to preserve this traditional "performance tradition" has become a pressing matter for the government and scholars alike. In the book the Invention of tradition, Hobsbawm notes that many ancient "traditions" have a fairly recent origin. However, it is often associated with the historical past. The author thinks that contemporary opera researchers should not generalize and generalize the traditional opera, but should examine the process of its change with the meaning of time stage. Therefore, the author wants to take the tune art in Xinchang County of Zhejiang Province as the research object, and try to record and interpret the development of the tune tune in Xinchang County since 1634, based on the previous research results. The purpose of this study is not to overturn the general narrative of the past, much less to reject the previous arguments, and to explore the history of the new tunes in an innovative way. Instead, proceeding from the context of calling for "restoration of tradition" from all sides, the existing historical documents, field investigations on the ground, crawling and discriminating, and further detailed and in-depth interpretation and research are carried out. Record down the way of the traditional evolution of the opera art, and try to solve the misgivings about the word "tradition" in the process of inheriting the tune art, so that more scholars can study it in the future. It can be noted that the word "tradition" is not only a word opposed to "modern", but also has a history of evolution in time and stage. Folk beliefs are the background for the formation of the tunes. It is hoped that with the help of the local chronicles of Xinchang and Shaoxing, they will look at the records of the tunes in the historical documents. At the same time, it also discusses the influence of religious opera on the tune from the cultural view of Confucianism, Buddhism and Taoism. At the same time, it also comments on the origin of the tune. Since 1950, many scholars have had different opinions and arguments on the origin of the tune. The author summed up three major sources: the South-to-North tune, the Yuyao Opera, the Yiyang dialect, and separately combed the data to explain their statements, to find out the logic and contradictions of the three expositions, and at the same time through the opinions of the scholars. This paper discusses the significance of the "tradition" of the tune. Then, starting from the Qing Dynasty, the reasons for the rise and fall of the tune are described. At the same time, the history from the reform of the 1950s opera to the inclusion of the first batch of "intangible cultural heritage" in the national level is taken as the main point of discussion. Finally, the paper puts forward some suggestions for the inheritance and development of tunes, hoping to gain more attention to the tunes.
【學(xué)位授予單位】：上海戲劇學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J825
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本文編號(hào)：1661960