本文選題：《趙貞女蔡二郎》 + 《琵琶記》��； 參考：《鄭州大學(xué)》2017年碩士論文

【摘要】：從宋元戲文《趙貞女蔡二郎》到明初高明《琵琶記》再到清代花部戲曲《賽琵琶》、《陳世美休妻》、《鍘美案》等,是負(fù)心婚變主題的琵琶戲在不同時(shí)期不同階段演變的重要?jiǎng)∧�。本文探討琵琶故事在不同時(shí)期的流傳,通過(guò)對(duì)不同時(shí)期代表性的琵琶故事劇目進(jìn)行比較,探尋琵琶故事的演變及其背后的原因,以期對(duì)當(dāng)代戲曲的改編具有借鑒意義。本論文分為四個(gè)章節(jié),第一章探討琵琶故事源流。通過(guò)對(duì)琵琶故事進(jìn)行尋根探源,得出琵琶故事最初來(lái)源唐人小說(shuō),后來(lái)經(jīng)過(guò)民間傳唱,把蔡伯喈與五娘兩個(gè)人物相結(jié)合,并加入新的人物,使琵琶故事由單一的故事內(nèi)核,逐漸豐富。第二章探討明清琵琶故事的改編。本章以高明的《琵琶記》為對(duì)象,從主題、人物兩個(gè)方面進(jìn)行分析,探討高明《琵琶記》對(duì)宋元戲文《趙貞女蔡二郎》的繼承與突破。同時(shí)與清代花部戲《賽琵琶》進(jìn)行比較,從《琵琶記》到《賽琵琶》,琵琶故事演變過(guò)程中,《賽琵琶》對(duì)高明《琵琶戲》的突破。第三章探討近代各地琵琶戲的演出。琵琶故事流傳到近代,被改編成了不同的版本。有川劇《鍘美案》、河北梆子《秦香蓮》、新編京劇《香蓮案》等,還有不同版本的折子戲。本章從故事情節(jié)上和人物形象上兩個(gè)方面,對(duì)不同版本的琵琶戲進(jìn)行比較,分析各版本琵琶戲的不同之處。第四章探討琵琶故事演變的背后原因。本章通過(guò)歸納琵琶故事演變過(guò)程中的特征,分析琵琶故事流傳過(guò)程中被一直關(guān)注并不斷改編的原因。由于受到傳統(tǒng)固有觀念的影響,以及時(shí)代背景的影響,琵琶故事在演變過(guò)程中發(fā)生了改變,以及它流傳過(guò)程中的改變對(duì)后世戲曲的改編是有借鑒意義的。琵琶故事在演變過(guò)程中,人物形象和主題思想發(fā)生了改變,宣揚(yáng)了不同的時(shí)代意義。
[Abstract]:From Song and Yuan Opera text "Chaozhen Girl Cai Erlang" to Gao Ming "Pipa Story" in the early Ming Dynasty, to the Flower Opera of Qing Dynasty "PIPA", "Chen Shimei's repudiation of wife", "the case of guillotine" and so on, it is an important repertoire that the pipa drama with negative heart and marriage theme evolves at different stages in different periods. This paper probes into the spread of pipa stories in different periods, and through the comparison of the representative repertoire of pipa stories in different periods, probes into the evolution of pipa stories and the reasons behind them, in order to provide reference for the adaptation of contemporary operas. This thesis is divided into four chapters. The first chapter discusses the origin of the pipa story. By searching for the source of the pipa story, it is concluded that the original source of the pipa story was the novels of the Tang people, and later through folk songs, the two characters of Cai Po-chih and the five Niangs were combined, and new characters were added, so that the pipa story became the single core of the story. Gradually enrich. Chapter two discusses the adaptation of pipa stories in Ming and Qing dynasties. This chapter takes Gao Ming's Pipa as the object, from the theme, the character two aspects carries on the analysis, probes into Gao Ming's pipa to Song and Yuan Dynasty drama text "Chaozhen daughter Cai Erlang" the inheritance and the breakthrough. At the same time, compared with the Huabe Opera of Qing Dynasty, from the Story of Pipa to the Story of Pipa, the PIPA broke through Gaoming's PIPA. The third chapter discusses the performance of pipa opera in modern times. The pipa story spread to modern times and was adapted into different versions. There are Sichuan opera, guillotine case, Hebei Bangzi, Qin Xianglian, new Peking Opera, Xianglian case, and different versions of Xianzi Opera. This chapter compares different versions of pipa drama from two aspects of story plot and character image, and analyzes the differences of different versions of pipa drama. Chapter four discusses the reasons behind the evolution of pipa stories. This chapter summarizes the characteristics of the evolution of the pipa story, and analyzes the reasons why the pipa story has been concerned and adapted constantly in the course of its spread. Due to the influence of the traditional concept and the background of the times, the pipa story has changed in the process of evolution, and the change in its spread is of significance to the adaptation of later generations of opera. In the course of the evolution of pipa stories, the characters' images and theme ideas have changed and propagated different meanings of the times.
【學(xué)位授予單位】：鄭州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.37;J809.2

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本文編號(hào)：1795109