本文選題：儺舞 + 儺文化��； 參考：《陜西師范大學(xué)》2008年碩士論文

【摘要】： 本文主要以面具舞中的儺舞為研究對(duì)象,并對(duì)其中的歷史、面具和存在狀態(tài)著重論述,然后將中、日、韓的面具舞進(jìn)行分類(lèi)研究、比較。在利用文獻(xiàn)資料和考古資料,借助宗教、文學(xué)、藝術(shù)、哲學(xué)等其他學(xué)科研究的基礎(chǔ)上,結(jié)合圖片資料,對(duì)面具舞的發(fā)展做出探討。儺舞,以驅(qū)疫納吉為主要目的,以粗獷、豪放、熱烈的舞步為形式,通過(guò)面具的運(yùn)用表現(xiàn)出來(lái)。我經(jīng)過(guò)對(duì)三國(guó)面具舞的分析對(duì)比,反映出日本、韓國(guó)在歷史上對(duì)我國(guó)的頂禮膜拜和學(xué)習(xí),同時(shí)他們世代在傳統(tǒng)文化保護(hù)方面的高度重視,這就提醒我們?cè)谔剿鞯耐瑫r(shí),也要引起足夠的重視,在今后的發(fā)展中做的更好。對(duì)以上內(nèi)容,本論文共分五個(gè)部分論述: 第一部分:為緒論部分,本文從面具舞的起源、發(fā)展探究中、日、韓面具舞發(fā)展和現(xiàn)狀,就其選題的理由與意義、目前本課題的研究現(xiàn)狀、研究方法及寫(xiě)作思路、研究條件和可能存在的問(wèn)題及本題目的創(chuàng)新之處和可預(yù)期的創(chuàng)造性成果等五部分作了簡(jiǎn)單介紹,明確了選題依據(jù)。 第二部分:是論文的第一章,主要對(duì)儺文化進(jìn)行綜述,就什么是儺、儺的起源、發(fā)展及當(dāng)時(shí)的作用、儺的分類(lèi)和分布地域進(jìn)行客觀論述。儺的歷史分為兩個(gè)部分,史前至魏晉南北朝為第一部分,之后為第二部分。儺的分類(lèi)有多種分法,我贊同曲六乙先生的分法,將中國(guó)的儺主要分為民間儺、宮廷儺、軍儺和寺院儺。儺的分布十分廣泛,在全國(guó)的許多地區(qū)都有儺戲圈,一般都是在經(jīng)濟(jì)比較落后的地區(qū),以家庭或宗族為單位的經(jīng)濟(jì)和社會(huì)活動(dòng),導(dǎo)致他們經(jīng)濟(jì)活動(dòng)的盲目性和個(gè)人命運(yùn)的不可預(yù)測(cè)行,為儺提供了較大的發(fā)展空間。 第三部分:是論文的第二章,就儺文化進(jìn)行更詳實(shí)的闡述。此章共分四節(jié)論述,第一節(jié)論述了儺面具,面具是儺戲最典型的特色,我分別從儺面具的發(fā)展變化、造型、色彩方面論述,將其放在第一節(jié)足見(jiàn)它的重要性。接著幾節(jié)分別從儺經(jīng)歷的發(fā)展軌跡,儺儀、儺舞、儺戲來(lái)進(jìn)行論述了。我分別就其產(chǎn)生、發(fā)展?fàn)顩r和表現(xiàn)形態(tài)做出客觀描述。儺舞也是本章的重點(diǎn),在儺劇的表演中,儺舞是主要的表現(xiàn)形式,俗話說(shuō)“無(wú)儀不起舞,無(wú)舞不成儀”,舞是整個(gè)表演的關(guān)鍵所在。 第四部分:是論文的第三章,“中國(guó)及周邊國(guó)家面具舞分析”。在歷史的長(zhǎng)河之中,面具舞東漸,流傳到了韓國(guó)、日本,對(duì)當(dāng)?shù)匦纬缮钸h(yuǎn)的影響,他們將其接納、吸收,并與自己的文化融合,形態(tài)發(fā)生變化,形成了自成一體的文化,保存起來(lái),世代相沿,傳承不惜。在此章里,我分別就三國(guó)的面具舞情況進(jìn)行介紹,從它們的起源、發(fā)展、代表性舞蹈、表演的具體形式出發(fā),然后將三國(guó)的面具舞從幾方面比較:面具、表演場(chǎng)所、舞蹈動(dòng)作、劇目,突出其自身的特點(diǎn)。 第五部分:是論文的第四章,“儺舞和面具舞發(fā)展”。在這一章里,就其發(fā)展現(xiàn)狀、保護(hù)方法和保護(hù)意義進(jìn)行論述。在不同國(guó)家由于種種因素,面具舞的保存現(xiàn)狀有所不同。韓國(guó)、日本通過(guò)民間和國(guó)家的雙重保護(hù)下,建立一系列的政策法規(guī)和加強(qiáng)了本民族的文化意識(shí),在這一方面有很多值得我們學(xué)習(xí)和借鑒的地方,在此基礎(chǔ)上引起人們的足夠重視,達(dá)到本文對(duì)保護(hù)傳統(tǒng)文化方面的目的。
[Abstract]:This article mainly focuses on the exorcise dance in mask dance, and focuses on its history, mask and state of existence, and then classifies and compares the masks and dances of China, Japan and Korea. On the basis of the use of literature and archaeological materials and the help of other subjects such as religion, literature, art and philosophy, the mask is combined with the picture material. The development of the dance is discussed. The Nuo dance is the main purpose of the exorcism, with the form of rough, unconstrained, and enthusiastic dance as the form, and through the use of masks. Through the analysis and comparison of the masks and dances of the Three Kingdoms, I have reflected that Japan and Korea have worshiped and studied our country in history, and they have been in the protection of traditional culture for generations. Attach great importance to it, which reminds us that we should pay enough attention to the exploration and do better in the future development. For the above content, this thesis is divided into five parts:
The first part: for the introduction part, this article from the origin of the mask dance, the development of the exploration, the Japanese and the Korean masks dance development and the present situation, on the reasons and significance of the topic, the present research status of this topic, the research methods and writing ideas, the research conditions and possible problems, the innovation of this topic and the expected creative achievements, and so on five parts. A brief introduction is made and the basis of the topic is clarified.
The second part: the first chapter of the paper, mainly to the exorcise culture, the origin of Nuo, exorcise, the development and the role of the time, the classification and distribution of exorcise in an objective discussion. The history of Nuo is divided into two parts, from the prehistoric to the Wei, Jin, and the northern and Southern Dynasties as the first part, and then the second part. The division of Mr. six is mainly divided into folk Nuo, imperial exorcise, imperial exorcise and monastery Nuo. Exorcise is widely distributed in many areas of the country, and the Nuo opera circle in many areas of the country is generally in economic and social activities in the backward areas of the economy, with family or clan as units, leading to the blindness and personal fate of their economic activities. The unpredictable line provides great room for Nuo development.
The third part: the second chapter of the paper, the exorcise culture more detailed exposition. This chapter is divided into four sections, the first section discusses the Nuo mask, the mask is the most typical feature of the Nuo opera, I respectively from the exorcise mask development, modeling, color, and put it in the first section to see its importance. Then several sections from Nuo experience respectively The development track, exorcise, Nuo dance and Nuo opera are discussed. I make an objective description of its production, development and expression. Exorcise is also the focus of this chapter. In the performance of the Nuo opera, Nuo dance is the main form of expression, the common saying is "no dance, no dance, no dance, no instrument", and the dance is the key to the whole performance.
The fourth part: the third chapter of the paper, "the analysis of masks dance in China and the surrounding countries". In the long history of history, masks dance eastward to the South Korea and Japan, which has a profound influence on the local. They accept, absorb, and change with their own culture, form a form of self-contained culture, preserve, and generation. In this chapter, I introduce the mask dance of the three countries, from their origin, development, representative dance, and the specific form of performance, and then compare the masks of the three countries from several aspects: masks, performing places, dance movements, plays, and highlighting their own characteristics.
The fifth part: the fourth chapter of the paper, "the development of Nuo dance and mask dance". In this chapter, the status of its development, the protection method and the protection significance are discussed. In different countries, because of various factors, the status of the mask dance is different. The cultural consciousness of the nation has been strengthened. In this respect, there are a lot of places to learn and learn from. On this basis, people should pay enough attention to the purpose of this article to protect the traditional culture.

【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類(lèi)號(hào)】：J722.2

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 韋海燕;;近十年儺舞研究綜述[J];河池學(xué)院學(xué)報(bào);2012年01期

2 蒲向明;;隴南白馬藏族儺舞戲表演藝術(shù)論[J];四川戲劇;2011年05期

相關(guān)碩士學(xué)位論文 前2條

1 陳飛;湖南儺面具造型藝術(shù)變遷研究[D];中南大學(xué);2010年

2 徐文亮;坳瑤儺面具文化傳承研究[D];廣西民族大學(xué);2012年

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本文編號(hào)：1799133