本文關(guān)鍵詞：來自田野的守望—汗都春藝術(shù)研究　出處：《新疆藝術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 錫伯族 汗都春 歌-舞-戲 形態(tài)分析 文化交融

【摘要】：汗都春作為新疆錫伯族的民間藝術(shù)形式,由歌、舞、戲三者所構(gòu)成,其幽默詼諧的表演風(fēng)格、邊歌邊舞的演繹形式,以及錫漢合璧的語言特色,涵蓋著民族化戲曲藝術(shù)的基本特征,呈現(xiàn)出文化混融的獨(dú)特樣貌。汗都春藝術(shù)主要流傳于新疆伊犁察布查爾錫伯族聚居區(qū),傳承至今歷時(shí)二百余年,期間歷經(jīng)了孕育、發(fā)生、轉(zhuǎn)型、定型的四個(gè)階段,在多元文化交融與碰撞的環(huán)境中,汗都春藝術(shù)經(jīng)歷了文化移植、借鑒、融合、創(chuàng)新的過程,它既前承本民族古老的藝術(shù)傳統(tǒng)和漢族秧歌,又后續(xù)新疆小曲子的諸多因子,同時(shí)有選擇的汲取新疆其他民族歌舞藝術(shù)的精華,通過自身的文化調(diào)適與磨合,最終以其獨(dú)特的民族個(gè)性在新疆多元文化藝術(shù)中獨(dú)樹一幟。因綜合性特征顯著,對(duì)于其概念的界定,民間與學(xué)術(shù)界歧義互現(xiàn)。筆者認(rèn)為汗都春屬于民族化的地方小戲,并非嚴(yán)格意義上的舞臺(tái)戲曲藝術(shù),其“以歌為主,以舞為輔,戲舞交融”的藝術(shù)特征,具有鮮明的審美復(fù)合型效應(yīng)。2007年汗都春藝術(shù)被列入新疆維吾爾自治區(qū)級(jí)非物質(zhì)文化遺產(chǎn)的曲藝類。本文以汗都春的本體研究為核心,著重考察其表演語境的形態(tài)、功能與特點(diǎn)。創(chuàng)新點(diǎn)在于發(fā)現(xiàn)汗都春有別于傳統(tǒng)戲曲,是歌—舞—戲構(gòu)成的復(fù)合體,源自漢族聲腔系統(tǒng)的平調(diào)與越調(diào)構(gòu)成了汗都春的音樂語匯,但在曲調(diào)、唱腔、樂器伴奏等諸多方面,形成了自己獨(dú)特的語言符號(hào);在舞蹈語匯上具有象征意蘊(yùn),汗都春邊歌邊舞的形態(tài)體現(xiàn)了一種語言符號(hào)和非語言符號(hào)的象征關(guān)系;汗都春的表演程式充滿審美情趣,既有漢族戲曲的共性,又極具民間戲曲的個(gè)性與生活化的審美特征,體現(xiàn)出諧趣厚味、技藝并重和情理統(tǒng)一的特征。汗都春所承載的文化內(nèi)涵和審美特性,反映了新疆錫伯族人民的精神風(fēng)貌。論文通過比較分析愛新舍里鎮(zhèn)(三鄉(xiāng))和扎庫齊牛錄(八鄉(xiāng))這兩個(gè)區(qū)域內(nèi)的汗都春藝術(shù),發(fā)現(xiàn)兩鄉(xiāng)在傳承方式上有所異同,傳承現(xiàn)狀差異化顯著,筆者從訪談的主觀判斷和調(diào)查樣本的量化統(tǒng)計(jì),得出汗都春在現(xiàn)代化語境中,面臨著瀕臨消失、無以為繼等諸多困境。為了實(shí)現(xiàn)汗都春藝術(shù)真正復(fù)蘇,筆者根據(jù)錫伯族民眾的心理預(yù)期,對(duì)汗都春藝術(shù)的的融合發(fā)展趨勢(shì)做了階段性的預(yù)測(cè),得出汗都春的藝術(shù)創(chuàng)作要同民眾審美心理相契合,傳統(tǒng)與現(xiàn)代契合,須開辟新型的傳播途徑,實(shí)現(xiàn)其藝術(shù)生命朝多元融合的方向發(fā)展。本文以藝術(shù)學(xué)、人類學(xué)、民俗學(xué)等多種學(xué)科的理論與方法,就汗都春藝術(shù)的歷史脈絡(luò)、生成機(jī)制、歌舞形態(tài)符號(hào)象征特征、當(dāng)代境遇等內(nèi)容進(jìn)行剖析,以田野調(diào)查實(shí)證為路徑,通過走訪察布查爾錫伯自治縣境內(nèi)的八個(gè)鄉(xiāng)鎮(zhèn),將汗都春藝術(shù)置于錫伯族西遷歷史和當(dāng)?shù)厣鐣?huì)發(fā)展的動(dòng)態(tài)進(jìn)行研究,以民間歌舞戲形態(tài)作為研究的重點(diǎn),從而尋繹汗都春藝術(shù)深層的文化基因。
[Abstract]:As the folk art form of Xibo nationality in Xinjiang, Khan du Chun is composed of song, dance and play, its humorous performance style, the deductive form of singing and dancing, as well as the language characteristics of the combination of Sibo and Han. Covering the basic characteristics of the national opera art, showing a unique appearance of cultural blending. The art of Khan du Chun is mainly spread in the Zabchar Xibo area of Xinjiang, which has been passed on for more than 200 years. During the four stages of gestation, occurrence, transformation and stereotyping, the art of Khan du Chun experienced the process of culture transplantation, reference, integration and innovation in the environment of multi-cultural blending and collision. It not only inherits the ancient art tradition of this nationality and Han Yangko, but also follows many factors of Xinjiang small tune, at the same time, it selectively absorbs the essence of other ethnic music and dance art in Xinjiang, and adjusts and adapts through its own culture. Finally with its unique national personality in Xinjiang multi-cultural arts unique. Because of the distinct comprehensive characteristics, the definition of its concept. The author thinks that Khan Duchun belongs to the local drama of nationalization, not the art of stage opera in the strict sense, which is characterized by "the song is the main part, the dance is the auxiliary, the drama and dance blend". In 2007, the art of Khan du Chun was included in the Quyi art category of the intangible cultural heritage of Xinjiang Uygur Autonomous region. This paper focuses on the Noumenon study of Khan du Chun. The innovation point is to find out that Khan du Spring is different from the traditional opera and is a complex composed of song, dance and play. The flat and overtone from the Han vocal system formed the musical vocabulary of Handuchun, but in many aspects, such as tune, singing, musical instrument accompaniment and so on, formed their own unique language symbols; There is symbolic meaning in dance vocabulary, and the form of Handu Spring singing and dancing embodies a symbolic relationship between language symbols and non-linguistic symbols. The performing formula of Khan du Chun is full of aesthetic interest, which has the common character of Han opera, the individuality of folk opera and the aesthetic characteristic of life, which reflects the rich taste of harmony. The cultural connotation and aesthetic characteristics carried by Khan Duchun. It reflects the spiritual features of Xibo people in Xinjiang. This paper analyzes the art of Khan du Spring in Aisinsheri Town (San Xiang) and Zakuqi Niu Lu (Ba Xiang) through comparative analysis. Found that there are similarities and differences in the way of inheritance between the two townships, the status quo of inheritance is significantly different. From the subjective judgment of interviews and the quantitative statistics of survey samples, we find that sweating in the modern context is facing the imminent disappearance. In order to realize the real recovery of Han du spring art, according to the psychological expectation of Xibo people, the author made a stage prediction on the integration development trend of Han du spring art. The artistic creation of Khan du Chun should be compatible with the aesthetic psychology of the people, the tradition and the modern should be compatible with each other, and a new way of communication should be opened to realize the development of its artistic life towards the direction of plural integration. This article uses art and anthropology. The theories and methods of folklore and other disciplines, such as the historical context, generation mechanism, symbolic characteristics of singing and dancing forms, and contemporary circumstances, are analyzed, and field investigation is taken as the path. Through visiting eight villages and towns in Chabuchar Sibo Autonomous County, this paper puts the art of Khan du Chun in the history of Xibo nationality's westward migration and the dynamics of local social development, taking folk singing and dancing opera form as the focus of the study. In order to find the deep cultural gene of Khan du Chun art.
【學(xué)位授予單位】：新疆藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J826

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