本文選題：中國　切入點(diǎn)：民間　出處：《上海大學(xué)》2014年博士論文

【摘要】：中國民間小戲的地位和作用很少能夠被人們以公正的態(tài)度來對待，經(jīng)常陷入以一種偏頗反對另一種偏頗的境地。民間小戲涉及范圍廣，時(shí)間跨度大，就其本身的復(fù)雜性、豐富性，以及對于中國歷史文化的重要性而言，還需要人們更全面正確地認(rèn)識和保護(hù)。 第一章“民間小戲的概念”，以“小戲”概念為中心，梳理從古至今“小戲”在各種語境中的含義，以及戲劇史上出現(xiàn)過、與今日所謂“民間小戲”有交集的概念。如：雜戲、折戲（散出）、土戲、時(shí)劇（雜出）、捎戲等。 第二章“民間小戲發(fā)展述略”，以年代為序，分唐前、唐五代、宋金元、明清、現(xiàn)代、當(dāng)代民間小戲共六節(jié)，展現(xiàn)民間小戲從百戲中逐漸獨(dú)立、發(fā)展壯大，奠定了各類民族表演藝術(shù)中以戲曲為首、為尊局面的概況。 任何形式的戲劇都是以一個(gè)個(gè)劇目為存在的基礎(chǔ)，具體劇目的核心則是它的題材內(nèi)容。所以第三章“民間小戲的劇目”，在介紹民間小戲劇目題材來源之外，還選取幾種常見的劇中人物類型，展現(xiàn)民間小戲思想內(nèi)容的豐富性與復(fù)雜性。民間小戲藝術(shù)上最大的特點(diǎn)就是混雜拼貼，較多插入與情節(jié)之外內(nèi)容的劇目類型有：串戲類、盤歌（盤道）類。 第四章“民間小戲的表演”，重點(diǎn)總結(jié)了因受演員人數(shù)限制而形成的特殊方法：以人擬物、兼扮、跳進(jìn)跳出、搭橋、假形。民間小戲?qū)騽∧_色體制的貢獻(xiàn)在于最初的腳色——丑、旦的劃分。民間小戲的表演無論是程序還是具體動作，很大程度上帶有作為它來源的表演藝術(shù)——諸如歌舞、說唱的痕跡，并且即興性強(qiáng)、觀眾參與互動成分較多。 第五章“民間小戲的舞美”，總結(jié)了民間小戲化妝、服裝、道具所具有的抽象、寫意、虛擬等美學(xué)特色，很大程度上是著實(shí)因?yàn)闂l件有限。本章重點(diǎn)探究了舞具的形成，，以及舞具或發(fā)展為道具或在小戲中消失的原因。 第六章“民間小戲的音樂”，除了列舉民間小戲音樂的主要來源之外，主要梳理小戲音樂戲劇化的過程：分腔，零散的曲調(diào)如何進(jìn)化為曲牌、板式，以及在走向城市發(fā)展為大戲過程中對自身原有特點(diǎn)（如襯腔）的放棄。 第七章“民間小戲的走向”，總結(jié)了民間小戲大致三種發(fā)展結(jié)局：1、大多數(shù)都往大戲方向靠攏；2、少數(shù)保持原有的體制；3、還有一些走向消亡或基本消亡。不管是哪種結(jié)局，民間小戲整體趨向都是藝術(shù)上往精進(jìn)、精致方向發(fā)展。 第八章“民間小戲在當(dāng)代社會的價(jià)值與發(fā)展策略”，分析了民間小戲不僅具有傳播、傳承歷史文化信息以及對個(gè)人人格和社會秩序的造就、維護(hù)功能，滋養(yǎng)了許多藝術(shù)形式，并且還可以作為許多學(xué)科的研究對象�！皯騽∥C(jī)”產(chǎn)生的同時(shí)，還給民間小戲帶來生機(jī)，因?yàn)楸焕渎渚鸵馕吨匦露ㄎ�，有可能借此獲得新的生存空間。當(dāng)然民間小戲中的相當(dāng)一部分，已明顯難以靠自身力量重新占領(lǐng)市場，需要加大保護(hù)力度，以及通過多種方式讓人們認(rèn)識并傳遞它的價(jià)值。 民間小戲曾在戲劇的一系列體制變動中，總是處于前沿位置。隨著戲曲不再占據(jù)民族表演藝術(shù)的首要地位，傳統(tǒng)意義上的民間小戲終將退位。戲劇產(chǎn)生的動機(jī)在于獲得新鮮體驗(yàn)的愿望，即使到了戲曲消失的那一天，角色扮演、改換角度或場景尋求新體驗(yàn)的需求也仍然存在，所以大戲劇觀念下的“小戲”仍然會借助新的載體，以新的形式活躍在人們的娛樂、生活之中。
[Abstract]:The status and role of Chinese folk opera can seldom be people with a fair attitude to treat, often caught in a biased against another biased position. Folk drama involving a wide range of time span, complex, its richness, and the importance of cultural Chinese history, still need people a more comprehensive understanding and protection.
The first chapter "the concept of" folk opera, with "small" concept as the center, combing the "small" since ancient times in various context, and drama history appeared, the intersection of the concept and the so-called "folk opera today. Such as: miscellaneous drama, drama, drama (from) soil, time series (a hybrid), a play.
The second chapter "of" folk drama development, with time as the preface points before the Tang Dynasty, Tang Dynasty and Five Dynasties, the Ming and Qing Dynasties, Song Jinyuan, modern, contemporary folk opera six Festival, folk drama show from the show in the independent development, gradually, laid all kinds of folk performing arts in the opera LED of respect for the situation.
Any form of drama is a repertoire of existing basis, specific repertoire of core is the theme of it. So the third chapter "Folk Opera repertoire", in the Folk Opera repertoire of sources of material, also selected several common types of characters, rich folk opera show the ideological content and the complexity of folk opera art. The biggest feature is the pastiche, insert more content and plot types are: String class drama repertoire, song (take).
The fourth chapter "performance" of folk opera, emphatically summarized the special forming method due to the restrictions on the number of actors: the quasiphysical, and play, jumping, bypass, cast. Folk drama drama role contribution to the system is that the original role - ugly, Dan division. Folk opera performances both specific action program or, largely as it comes with the performing arts such as dance, rap and traces of improvisation, audience participation more interactive components.
The fifth chapter "choreography" folk opera, summarizes the folk opera makeup, costumes, props is abstract, freehand, virtual aesthetic characteristics, largely because of the limited conditions. Indeed, this chapter focuses on the dance with formation, as well as the reason for the development of dance or props or disappear in the opera.
The sixth chapter "music" folk opera, in addition to the main sources are folk opera music, opera music and drama in carding process mainly: cavity, scattered to evolve to tune tune, plate, as well as in the development process for the city to show its own original features (such as lining cavity) to give up.
The seventh chapter "to" folk opera, folk drama summarized roughly three kinds of development: 1, most of them to the end of 2, a few drama direction; to maintain the original system; 3, there are some dying or die. No matter what the outcome, the overall trend of folk drama is the art to the sophisticated, delicate the direction of development.
The eighth chapter is "folk drama in contemporary social value and development strategy", analyzes the folk opera not only has the inheritance of historical culture and information dissemination, creating, for individual personality and social order maintenance function, nourish the many forms of art, and also as the research object of many subjects. The "drama crisis" produced at the same time, to bring the vitality of folk drama, because the cold means re positioning, may take to get a new living space. Of course, a considerable part of the folk opera, is obviously difficult to rely on its own strength to occupy the market, need to increase the protection, and through a variety of ways to let people know and transfer its value.
Folk drama had a series of institutional changes in the drama, is always in the front position. With the primacy of national opera no longer occupy the performing arts, traditional folk opera will abdicate. Drama is motivated by the desire to obtain fresh experience, even if that day, the drama disappear the role, change the angle the demand for new experiences or scenes still exist, so the grand theatre under the concept of "small" is still with the help of the new carrier, new forms of active in people's entertainment life.

【學(xué)位授予單位】：上海大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2014
【分類號】：J825

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