本文選題：民國時(shí)期 + 藏曲活動�。� 參考：《山西師范大學(xué)》2014年博士論文

【摘要】：藏曲活動淵源已久，今于宋元時(shí)期藏書家目錄、戲曲目錄、學(xué)人筆記及文集中多有記載，然而在古代八百年藏曲活動的發(fā)展歷史中，因秘而不宣的藏曲觀念及戲曲從未進(jìn)入學(xué)術(shù)研究視野等多種因素的影響，古代藏曲活動顯而不彰，如此不但藏曲未能長存不散，也未能對古代戲曲研究產(chǎn)生重要影響。 民國時(shí)期，隨著西學(xué)東漸中國俗文學(xué)研究的興起，在社會的大變革大動蕩中，由學(xué)人個(gè)體肩負(fù)起的藏曲活動不但在保護(hù)中國古籍文獻(xiàn)與文化上發(fā)揮了重要作用，而且對現(xiàn)代戲曲學(xué)的建構(gòu)產(chǎn)生了重要影響。相較古代藏曲活動，民國時(shí)期藏曲活動在藏曲者、藏曲觀念、藏曲范圍、藏曲作用等方面發(fā)生了一些新變。首先，，藏曲者身份多為戲曲研究者或是戲曲藝術(shù)家，他們或以戲曲表演為業(yè)，或以戲曲研究為業(yè)，藏曲之目的旨在學(xué)術(shù)研究，而在藏曲者間的藏曲活動交流及戲曲學(xué)交流極為頻繁，國內(nèi)戲曲研究者共同創(chuàng)辦戲曲研究團(tuán)體、互訪戲曲文獻(xiàn)，相討戲曲研究中的各類問題；我國學(xué)者與日本學(xué)者者之間也互動頻繁，不但為戲曲學(xué)保存了珍稀文獻(xiàn)，也互相影響了他們戲曲文獻(xiàn)的收藏范圍及戲曲研究。其次，民國時(shí)期藏曲觀念之新變對戲曲進(jìn)入現(xiàn)代學(xué)術(shù)研究產(chǎn)生重要影響，戲曲研究者為研究需要而勤勉地搜集戲曲文獻(xiàn)，提升了戲曲文獻(xiàn)的價(jià)值，為戲曲學(xué)發(fā)展奠定了實(shí)證性研究基礎(chǔ)。第三，民國時(shí)期藏曲范圍相較我國傳統(tǒng)藏曲，收藏范圍由元曲雜劇、明清傳奇等文人案頭文獻(xiàn)擴(kuò)展至梨園抄本、曲譜、身段譜等民間場上文獻(xiàn)，拓展了戲曲研究領(lǐng)域,由是民國時(shí)期藏曲數(shù)量蔚為大觀。第四，民國時(shí)期私家藏曲的作用不但體現(xiàn)在文獻(xiàn)的保存、整理、編纂出版方面為戲曲學(xué)奠定了堅(jiān)實(shí)基礎(chǔ)，而且對近代戲曲學(xué)體系的完善有實(shí)質(zhì)影響，在戲曲史研究、戲曲文獻(xiàn)研究、戲曲理論研究、戲曲劇場演出研究等方面推動了戲曲學(xué)的建構(gòu)。 論文通過系統(tǒng)整理民國時(shí)期私家藏曲活動相關(guān)史料，在中國藏曲發(fā)展史與戲曲學(xué)發(fā)展史視野下，將藏曲活動視為現(xiàn)代戲曲學(xué)實(shí)際發(fā)生及演變的存在方式，考察在民國藏曲活動中戲曲學(xué)的創(chuàng)建與變遷，考釋民國時(shí)期私家藏曲者的藏曲實(shí)績與取得戲曲學(xué)術(shù)成就。
[Abstract]:Tibetan music activities have a long history. In the Song and Yuan dynasties, the bibliography of collectors, opera catalogues, scholars' notes and collections are often recorded. However, in the history of the development of Tibetan music activities in ancient times of 800 years, Because of the secret Tibetan music idea and the drama never entered the academic research field of vision, the ancient Tibetan music activity is not obvious, thus not only the Tibetan music can not only survive, but also cannot have the important influence to the ancient opera research. During the period of the Republic of China, with the rise of the study of western learning and the spread of Chinese vulgar literature, in the great changes and upheavals of society, the Tibetan music activities shouldered by the scholars not only played an important role in protecting the ancient Chinese literature and culture, but also played an important role in protecting the ancient Chinese literature and culture. Moreover, it has an important influence on the construction of modern opera theory. Compared with the activities of ancient Tibetan music, the activities of Tibetan music in the period of the Republic of China have undergone some new changes in the Tibetan music, the concept of Tibetan music, the scope of Tibetan music, the role of Tibetan music, and so on. First of all, Tibetans are mostly opera researchers or opera artists. They either take the opera performance as their career or study the opera. The purpose of Tibetan opera is to study it academically. However, Tibetan opera activities and operatics exchanges among Tibetan opera practitioners are very frequent. Domestic opera researchers jointly set up opera research groups, exchange visits to opera literature, and discuss all kinds of problems in opera research. The interaction between Chinese scholars and Japanese scholars is also frequent, which not only preserves rare literature for opera, but also influences the scope of their opera literature collection and opera research. Secondly, the new concept of Tibetan opera in the period of the Republic of China had an important impact on the modern academic study of opera. Opera researchers diligently collected opera literature for the research needs, which promoted the value of opera literature. It lays a solid foundation for the development of opera. Thirdly, the range of Tibetan music in the period of the Republic of China is compared with the traditional Tibetan music of our country. The scope of the collection has been extended from the Yuan Opera, the Ming and Qing legends and other literati desk documents to the transcripts of the pear garden, the qu spectrum, the body music and other folk field documents, which has expanded the field of opera research. Therefore, the number of Tibetan songs in the period of the Republic of China has become a great sight. Fourth, the role of private Tibetan music in the Republic of China not only reflected in the preservation, collation, compilation and publication of the literature laid a solid foundation for the study of opera, but also had a substantial impact on the improvement of the modern opera system, in the study of the history of opera. The study of drama literature, the theory of opera and the study of theatrical theatres promote the construction of opera theory. By systematically sorting out the relevant historical data of private Tibetan music activities in the Republic of China, this paper regards Tibetan opera activities as the actual occurrence and evolution of modern opera under the perspective of the development history of Tibetan opera in China and the history of opera studies. This paper investigates the creation and changes of the opera theory in the activities of the Republic of China, and studies the achievements of the private Tibetans in the period of the Republic of China and the academic achievements of the opera.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2014
【分類號】：J809.2

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本文編號：2064870