本文選題：漁燈秧歌 + 藝術(shù)特征��； 參考：《山東師范大學(xué)》2012年碩士論文

【摘要】：漁燈秧歌流傳于魯南臺(tái)兒莊的運(yùn)河岸邊的黃林莊，1931年由天津傳入臺(tái)兒莊，是土生土長(zhǎng)的富有地方特色的一種民間鄉(xiāng)會(huì)藝術(shù)。其表現(xiàn)形式是以歌舞為主，以歡快、喜慶為主調(diào)，即情即景，自由發(fā)揮，即興表演。有時(shí)也表演一些故事情節(jié)的戲曲小節(jié)目，內(nèi)容大都是才子佳人，兒女姻緣方面的，也有表現(xiàn)男女說(shuō)逗的�？傊�，漁燈秧歌是一種歌、舞、戲、逗（丑）四位一體的民間表演藝術(shù)形式。 本文的主體部分共分為四章：第一章為漁燈秧歌的研究背景。其中包括齊魯舞蹈文化對(duì)漁燈秧歌的影響以及對(duì)其生長(zhǎng)的地理人文環(huán)境和本身的歷史淵源等進(jìn)行分析，這一部分立足于實(shí)際，對(duì)漁燈秧歌進(jìn)行了總體上的概述。第二章為漁燈秧歌的藝術(shù)特征。這也是本篇論文的主體部分，本章通過(guò)田野調(diào)查和對(duì)前輩們的藝術(shù)研究成果的總結(jié)，具體闡述了漁燈秧歌的表演形式、服裝道具、角色的分類、伴奏音樂(lè)等一系列的藝術(shù)特征，對(duì)漁燈秧歌的整體表演風(fēng)格進(jìn)行具體的記述。第三章為漁燈秧歌的文化內(nèi)涵。漁燈秧歌的表演風(fēng)格展現(xiàn)了民俗文化，體現(xiàn)了文化功能，從文化理論的角度進(jìn)一步對(duì)漁燈秧歌進(jìn)行分析。第四章為漁燈秧歌的現(xiàn)狀分析與傳承保護(hù)。本章通過(guò)對(duì)漁燈秧歌的現(xiàn)狀分析，提出了當(dāng)下人們應(yīng)重視和保護(hù)，并繼承與發(fā)展這一傳統(tǒng)的民間藝術(shù)。 本論文的創(chuàng)新之處，主要表現(xiàn)在以下兩個(gè)方面： 第一，充實(shí)了舞蹈學(xué)界對(duì)漁燈秧歌的研究 漁燈秧歌是山東民間舞蹈的一種，但是對(duì)其有所了解的人少之又少，只有在中國(guó)民族民間舞蹈集成編輯部編的《中國(guó)民族民間舞集成》（山東卷）和胡晶瑩、劉曉真主編《秧歌—中國(guó)國(guó)粹藝術(shù)讀本》中簡(jiǎn)單的介紹了一些之外，其他著作很少提到，更沒(méi)有影像資料留存，因此對(duì)其發(fā)掘整理的人寥寥無(wú)幾。筆者對(duì)漁燈秧歌的歷史、藝術(shù)特征、文化等進(jìn)行調(diào)查、整理和研究，從整體上概括和總結(jié)。讓更多的人了解和認(rèn)識(shí)這一小舞種。 第二，從民間民俗、社會(huì)功能等理論的角度分析漁燈秧歌深刻的文化內(nèi)涵 漁燈秧歌是齊魯文化的一個(gè)組成部分，是傳統(tǒng)民間藝術(shù)文化的代表。通過(guò)更深層的理論角度分析和揣摩漁燈秧歌的文化現(xiàn)象是極其有意義的，希望能給熱衷于舞蹈事業(yè)的人們帶來(lái)一些啟示和思考。 漁燈秧歌這一代表著齊魯舞蹈文化的小舞種，，經(jīng)歷了從鼎盛到衰落的過(guò)程，如今隨著城鄉(xiāng)文化生活的不斷豐富，人們審美價(jià)值的轉(zhuǎn)變，漁燈秧歌的演出形式已基本不存在。因此，當(dāng)下的人們必須大力的保護(hù)與傳承這一傳統(tǒng)的民間藝術(shù)，讓這一朵美麗的齊魯舞蹈奇葩永遠(yuǎn)綻放下去。
[Abstract]:The Yangko of fishing lanterns was introduced from Tianjin to Taierzhuang in 1931 in Huanglin Zhuang on the bank of the canal in Taierzhuang, southern Shandong Province. It is a kind of folk folk art with local characteristics. Its manifestation is to sing and dance, to happy, happy as the main tone, that is, the scene, free play, improvisation. Sometimes also performs some story plot drama small program, the content mostly is talented person, the child marriage aspect, also has the performance male and female to say funny. In a word, Yangko is a kind of folk performing art form of song, dance, play and tease (ugliness). The main part of this paper is divided into four chapters: the first chapter is the research background of Yangko. It includes the influence of Qilu dance culture on Yutang Yangko, the geographical and humanistic environment of its growth and its historical origin. This part is based on the reality and gives a general overview of the Yangko. The second chapter is the artistic characteristics of Yangko. This is also the main part of this paper. Through the field investigation and the summary of the art research achievements of the predecessors, this chapter concretely expounds a series of artistic features such as the performance form of Yangko, costume props, role classification, accompaniment music, and so on. The whole performance style of Yangko fishing lanterns is described in detail. The third chapter is the cultural connotation of Yangko. The performance style of Yuliangyangko shows folk culture and cultural function, and further analyzes the Yangko from the angle of cultural theory. The fourth chapter is the present situation analysis and inheritance protection of Yangko. Based on the analysis of the present situation of Yangko, this chapter puts forward that people should pay attention to and protect, and inherit and develop this traditional folk art. The innovation of this paper is mainly reflected in the following two aspects: First, it enriches the study of Yangko in dance circles. Yuliangyangge is a kind of folk dance in Shandong, but very few people know about it, only in the "Integration of Chinese Folk Dance" (Shandong Volume) and Hu Jingying, compiled by the editorial Department of Chinese Folk Dance Integration. Liu Xiaozhen's "Yangge-Chinese quintessence Art Book" briefly introduces some of the other works rarely mentioned, not to mention the preservation of image materials, so very few people excavate and collate them. The author investigates, arranges and studies the history, artistic characteristics and culture of Yangko, and generalizes and summarizes it as a whole. Let more people understand and understand this small dance species. Second, from the perspective of folk custom, social function and other theories, this paper analyzes the profound cultural connotation of Yangko. Yangko is a part of Qilu culture and a representative of traditional folk art culture. It is very meaningful to analyze and speculate on the cultural phenomenon of Yangko from a deeper theoretical point of view, hoping to bring some enlightenment and thinking to the people who are keen on dancing. Yu-lantern Yangko, which represents the small dance of Qilu dance culture, has experienced the process from peak to decline. Now, with the continuous enrichment of urban and rural cultural life and the change of people's aesthetic value, the performance form of Yuliangyangge has basically not existed. Therefore, the present people must vigorously protect and inherit this traditional folk art, so that this beautiful Qilu dance will bloom forever.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J722.21

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王丹;;魯南文化產(chǎn)業(yè)化與旅游經(jīng)濟(jì)融合發(fā)展研究述評(píng)[J];棗莊學(xué)院學(xué)報(bào);2013年01期

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