【摘要】：自古以來,人類文明就是在相互交流與影響的基礎上不斷向前推進的,世界上從來沒有一種孤立的文化形態(tài)。同樣,西域戲的發(fā)展也不例外,西域位于中國和西方交流的中間地帶,從孕育初期的歌舞小戲直至后世元雜劇角色的形成,其在生成過程中的各戲劇要素都帶著佛教文化的烙印。為說明兩種異質(zhì)文化之間的交往所具備的不同點,分析佛教因素在西域戲生成過程中的作用,本文從西域戲的形成、發(fā)展、繁榮三個階段入手,將文章分為三部分內(nèi)容,分別是緒論、正文、結語。緒論部分包含三方面內(nèi)容,分別是西域與西域戲的界定、西域戲的內(nèi)涵與生成以及本文的研究現(xiàn)狀與研究思路。西域戲的時空界限,筆者主要將其地區(qū)限定在新疆與敦煌兩個地區(qū),時間設定在秦漢一直到元代之前這一歷史時期。西域戲劇的內(nèi)涵即產(chǎn)生在該地區(qū)、該時期所有的前戲劇形態(tài),包括戲劇孕育期的歌舞小戲,戲劇形成發(fā)展期的講唱藝術,也包括西域戲劇繁榮期的典型劇本《釋迦因緣劇本》與《彌勒會見記》。本文的研究現(xiàn)狀,筆者也自三方面展開:分別是西域戲與外來文化關系的研究、西域講唱藝術中戲劇要素的研究以及西域劇本的考證評定。關于本文的研究思路,筆者自西域戲生成的孕育期、形成期、繁榮期三個階段展開,進而分析佛教在其形成過程中的影響。第一章概括講了西域戲生成的發(fā)生背景。筆者自三方面展開:首先是宗教儀式與戲劇藝術兩種形態(tài)的依賴與共生關系;其次,西域位于東方和西部地區(qū)交往的中間地帶西域地區(qū)受印度文明的影響,印度舞蹈、音樂廣泛傳入西域;最后,絲綢之路的開通使得西域佛教文化異常繁盛。大致體現(xiàn)于兩方面:首先是借助佛經(jīng)翻譯,佛教在西域回鶻民族中廣泛傳播,二是尋跡絲綢之路路線,自西域到中原的遠古交通線上出現(xiàn)許多佛教石窟遺址。第二章是西域戲的孕育,主要講音樂歌舞在戲劇產(chǎn)生前的準備。筆者以四種早期表演形態(tài)、戲劇角色、戲劇中的音樂與器樂以及一種初期的西域戲劇傀儡戲為主要內(nèi)容來謀篇布局。四種與佛教相關的早期表演形態(tài)分別為蘇幕遮、缽頭、弄婆羅門、伎樂。對于西域戲劇角色中的參軍與蒼鶻,筆者分析后發(fā)現(xiàn)了其源頭上的佛教文化因素。西域戲中的音樂大多為佛教音樂,主要包括佛教大曲、胡樂大曲、摩柯兜勒等。西域戲的器樂主要包括羯鼓、七弦琴、火不思三種佛教器樂。西域初期戲劇傀儡戲從最早的記載來看,它在形成初期與佛教的關系可以想見。第三章為西域戲的形成,主要從敦煌地區(qū)講唱藝術中的部分代言體形式出發(fā),分析其對戲劇形成所作的形式上的準備。關于講唱藝術的表演手段,筆者自俗講、轉(zhuǎn)變、唱詞與諸宮調(diào)四種形式展開分析。講唱的道具即指圖畫,圖畫分立鋪與橫鋪兩種。音樂主要指講唱音樂到戲曲音樂的過渡。曲辭方面筆者主要考察了敦煌講唱藝術中的《蘇幕遮五臺山曲子》和《小小黃宮養(yǎng)贊》兩首曲辭。西域戲的形成期較孕育期而言,戲劇藝術在代言體和故事性方面都有了明顯的進步,講唱藝術成為了西域戲最終形成的踏板。第四章是西域戲劇劇本個案研究。從故事情節(jié)的完整性來看,劇本是戲劇藝術中重要要素之一。筆者從西域地區(qū)保存完整、具有代表性的兩個劇本《釋迦因緣劇本》與《彌勒會見記》出發(fā),對劇本的演變過程、戲劇史意義、劇本的情節(jié)、對話、獨白所表現(xiàn)出的戲劇性作了分析。最終得出結論,《釋迦因緣》與《會見記》兩個劇本的被探明,一方面為我國戲劇史增添了新的戲劇形式,從另一點說上,我國戲劇藝術的完成或依賴于它,具有極大的戲劇史意義。第五章是途經(jīng)西域的佛教文化對后世戲劇的影響。筆者也自兩個方面展開:一是佛教在體例上對元雜劇的影響,此種影響主要表現(xiàn)在腳色和曲調(diào)的形成上。二是佛教對后世戲劇劇場的影響。“勾欄”、“瓦舍”等表演場所,從源頭上看,都或與佛教文化相關。結語是對全文的總結,對文章歸納后筆者得出以下四點結論:一是西域戲孕育期的歌舞小戲推進了戲劇形態(tài)的形成;二是西域戲形成與發(fā)展期的講唱文學生成了代言體的表演手段;三是西域戲劇的繁榮期呈現(xiàn)出經(jīng)典佛戲;四是西域戲從整個方面影對后來戲劇的發(fā)展有所借鑒。文化的發(fā)展是在交流互鑒中展開的,在我國西域戲的生成歷程中,佛教體現(xiàn)出了極大的貢獻。然而,西域戲考證只是在起步時期,相信隨著研究的深入,西域戲研究會呈現(xiàn)出一個光明的前景。
[Abstract]:Since ancient times, human civilization has been pushing forward on the basis of mutual communication and influence, and there has never been an isolated culture form in the world. In the same vein, there is no exception to the development of the drama, which is located in the middle of the communication between China and the West. In order to explain the differences between the two heterogeneous cultures, the paper analyzes the role of Buddhist factors in the generation of drama, and starts from the three stages of the formation, development and prosperity of the drama, and divides the articles into three parts: introduction, body and conclusion. The introduction part contains three aspects: the definition of the play, the connotation and the generation of the play, and the research status and the research thought of this thesis. The time-space boundary between Xinjiang and Dunhuang is defined mainly by the author, and the time is set in the historical period before the Yuan Dynasty until the Yuan Dynasty. The connotation of the drama is produced in the region, all the former plays of the period, including the drama and dance drama, the drama forming the development stage, the singing art, also includes the typical script of the drama boom. The author also has three aspects: the study of the relationship between the drama and the foreign culture, the study of the drama elements in the singing art and the textual research and evaluation of the script. On the basis of the research thought of this paper, the author starts from three stages: the conception period, the formative period and the prosperity period of the drama generation, and then analyzes the influence of Buddhism in the course of its formation. The first chapter outlines the background of the generation of drama. From three aspects, the author begins with three aspects: first, the relationship between religious ceremony and the two forms of drama art; secondly, it is influenced by Indian civilization, Indian dance and music spread widely in the middle zone of the intercourse between the east and the west; and finally, The opening of the Silk Road has made the Buddhist culture unusually rich. It is mainly embodied in two aspects: First of all, Buddhism is widely disseminated in the nomadic people of the Republic of China through the translation of Buddhism and Buddhism, and two are the route of tracing the Silk Road, and many Buddhist grottoes are found on the ancient traffic lines from the Central Plains to the Central Plains. The second chapter is the inoculation of the drama, mainly the preparation of music and dance before the drama. The writer uses four kinds of early performance form, drama character, music and instrumental music in the drama, as well as an initial drama drama to make a layout for the main content. The four kinds of early performances related to Buddhism were Su curtain, bowl head, Brahmin, and music. The author analyses the Buddhist culture factors at the source after the analysis. Most of the music in the drama is Buddhist music, mainly including Buddhist Daqu, Hu Le Daqu, Moleclode and so on. The instrumental music of the drama mainly consists of three kinds of Buddhist music, including the drum, the seven-stringed instrument and the fire. From the earliest records, the drama of the early stage of the first stage shows that it can be seen in the relationship between the initial stage and the Buddhism. The third chapter is the formation of drama, mainly from the form of part of representation in the art of singing in Dunhuang, and analyzes its preparation in the form of drama formation. On the performance means of singing art, the author analyses the four forms, such as vulgarity, transformation, singing and Zhugong. The singing props refer to pictures, discrete parts of pictures and cross-laying. Music mainly refers to the transition of music to opera music. In this aspect, the author mainly inspects the Dunhuang singing art's and two songs. The drama art has made remarkable progress in terms of endorser and feature, and the singing art became the final step of the drama. The fourth chapter is a case study of drama play. From the completeness of the plot, the play is one of the important elements in the drama art. The author analyses the evolution of the script, the significance of the drama, the plot of the play, the dialogue and the script of the script. At the end of this paper, the author draws the conclusion that the discovery of the two plays, which is more than two plays, adds a new form of drama to the history of drama in our country, and from another point, the completion or dependence of the drama art in our country has great significance in drama history. The fifth chapter is the influence of Buddhism culture through the Confucian culture on the later drama. The author also develops from two aspects: one is the influence of Buddhism on the Yuan drama, which is mainly manifested in the formation of foot color and melody. The second is the influence of Buddhism on the drama theatre of later generations. "Tie Bar", "Osher" A place of performance, viewed from the source, or associated with a Buddhist culture. The conclusion is the summary of the full text, after concluding the article, the author concludes the following four points: One is the formation of the drama form by the singing and dancing play in the first stage of the drama; Three is the classical buddha in the prosperity of the drama; four is the play from the whole aspect to the development of the later drama. The development of culture has unfolded in the exchange of exchanges, and Buddhism reflects a great contribution in the course of the generation of Chinese opera. However, the textual research is only in the beginning period, and it is believed that with the deepening of the research, the drama research institute has a bright future.
【學位授予單位】：陜西師范大學
【學位級別】：博士
【學位授予年份】：2016
【分類號】：J809.2
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本文編號：2310521

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