本文關(guān)鍵詞：內(nèi)蒙古二人臺的調(diào)查與研究　出處：《山西師范大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 地方戲曲 內(nèi)蒙古二人臺 走西口 民族融合 社會文化生態(tài) 漫瀚劇

【摘要】： 二人臺,近百年來長期活躍在晉北、陜北、內(nèi)蒙古西部、冀北等省地,是廣大人民最喜聞樂見的地方戲曲之一。這個由蒙漢兩族人民共同產(chǎn)生的藝術(shù)表演形式,是蒙漢文化交流的特有產(chǎn)物,在中國北疆人民的社會生活中占有很重要的位置。 二人臺集民歌、民間歌舞、說唱、戲曲、器樂、雜技等藝術(shù)形式為一體,是一種綜合性的民間演藝品種。二人臺經(jīng)過長期的歷史發(fā)展,至今已經(jīng)積累了近百余個劇目,以枚(笛子)、四胡和揚(yáng)琴為三大件主奏樂器,音樂風(fēng)格鮮明而富有地域色彩,至今仍然十分活躍在城鄉(xiāng)人民的社會生活中。特別是在內(nèi)蒙古地區(qū),二人臺以其濃厚的歷史文化和特殊的地理位置、豐富的民間文化藝術(shù)而呈現(xiàn)出地緣文化特色。內(nèi)蒙古至今存在眾多的民間二人臺戲班,他們以原生形態(tài)的活動方式,沿著當(dāng)年著名的走西口路線,常年演出于民間鄉(xiāng)鎮(zhèn)村落,深受蒙漢人民的喜愛。內(nèi)蒙古二人臺不僅以地道的藝術(shù)風(fēng)格顯示其濃郁地方特色,而且它在鄉(xiāng)俗禮儀生活中扮演著獨特的角色,在現(xiàn)代文化環(huán)境中發(fā)揮了特有的社會功能。 筆者對內(nèi)蒙古二人臺劇團(tuán)以及與西口路地域文化的關(guān)系進(jìn)行了實地考察,從時間、地點、社會維護(hù)、文化象征等多維視角,展開了宏觀與微觀、過去與現(xiàn)在、原型與變異、局內(nèi)與局外等層面的探究。基于對內(nèi)蒙古二人臺流行地域的實地普查,對其生存的地域背景與歷史語境進(jìn)行了文化追問;主要圍繞著對內(nèi)蒙古二人臺藝術(shù)團(tuán)、包頭市漫瀚劇團(tuán)和文化大院的田野調(diào)查,加以描述、比較、分析和闡釋。 論文主要分如下幾個部分:一、簡要介紹二人臺及本文的研究目的、方法和意義;二人臺的研究成果綜述,主要介紹前人研究成果,大多由政府或文化部門組織整理的劇目、音樂方面的書籍。二、追溯二人臺的歷史淵源以及流布傳播情況,在收集資料的基礎(chǔ)上,對二人臺起源、形成和發(fā)展的歷史脈絡(luò)進(jìn)行梳理。關(guān)于二人臺的源流有多種說法,本文認(rèn)為是山西河曲起源,在內(nèi)蒙古西部得到形成和發(fā)展。三、通過田野調(diào)查,本文從民間歌舞、說唱形式、器樂牌子曲三個方面來研究內(nèi)蒙古二人臺的演藝形式。四、介紹內(nèi)蒙古二人臺的劇目與社會影響,并對其中有較高知名度的劇目進(jìn)行重點分析。五、論述內(nèi)蒙古二人臺的社會文化生態(tài),對內(nèi)蒙古二人臺歷史上的著名藝人和演員做了較全面的調(diào)查,還對解放前的戲班和解放后的劇團(tuán)做了大量調(diào)查,從中分析劇種興衰發(fā)展的軌跡以及社會原因。六、在對內(nèi)蒙古二人臺生存現(xiàn)狀進(jìn)行分析的基礎(chǔ)上,預(yù)測它的發(fā)展前景。最后得出結(jié)論,內(nèi)蒙古二人臺在其發(fā)展過程中,對其他藝術(shù)形式進(jìn)行吸收、借鑒,并保持和形成了一定的特色;目前雖然由于各種原因,面臨著和許多小劇種同樣的一些生存困境,但是它相對良好的生存狀態(tài),對當(dāng)今戲曲的改革,又可以提供一些可資借鑒的經(jīng)驗。
[Abstract]:Er-ren Tai, which has been active in Shanxi, northern Shaanxi, western Inner Mongolia and northern Hebei for a long time in the past hundred years, is one of the most popular local operas among the broad masses of the people. It is a form of art performance jointly produced by the Mongolian and Han peoples. It is a unique product of Mongolian and Han cultural exchanges and plays an important role in the social life of the people of northern China. With folk songs, folk songs and dances, rap, opera, instrumental music, acrobatics and so on, they are a comprehensive variety of folk performing arts. So far has accumulated more than a hundred repertoire, with pieces (flute, Sihu and yangqin as the three main instruments, music style bright and rich regional color. It is still very active in the social life of urban and rural people, especially in Inner Mongolia, because of its strong historical culture and special geographical location. The rich folk culture and art and presents the geographical culture characteristic. There are many folk two-person Taiwan opera troupes in Inner Mongolia until now, they take the Xikou route by the original form activity way. Performance in folk villages and towns, deeply loved by the Mongolian and Han people. Inner Mongolia Erren Tai not only shows its strong local characteristics with authentic artistic style, but also plays a unique role in the folk etiquette life. In the modern cultural environment has played a unique social function. The author has carried on the field investigation to the Inner Mongolia two-person Taiwan opera troupe and the relations with the Xikou Road regional culture, from the time, the place, the social maintenance, the culture symbol and so on multi-dimensional angle of view, has carried on the macroscopic and the microscopic, the past and the present. Based on the field survey of the epidemic area of Errentai in Inner Mongolia, this paper makes a cultural inquiry into the regional background and historical context of its survival. It mainly focuses on the field investigation of Inner Mongolia two-person Taiwan Art Troupe, Baotou Man Han Opera Troupe and Cultural Courtyard to describe, compare, analyze and explain. The paper is divided into the following parts: 1. Brief introduction of the two-person station and the purpose, method and significance of this paper; Review of the research results of the two people, mainly introduced the previous research results, mostly organized by the government or cultural departments of the repertoire, music books. Second, trace back to the historical origin of the station and spread the situation. On the basis of collecting data, this paper sorts out the origin, formation and development of Errentai. There are many kinds of theories about the origin of Errentai, which is considered to be the origin of Shanxi Hequ. In the west of Inner Mongolia has been formed and developed. Third, through field investigation, this article from the folk song and dance, rap form, instrumental music brand music three aspects to study the performance form of Inner Mongolia Errentai. 4. This paper introduces the repertoire and social influence of Inner Mongolia Erren TV station, and analyzes emphatically the plays with high popularity. Fifth, it discusses the social and cultural ecology of Inner Mongolia Erren TV station. A comprehensive investigation was made on the famous artists and actors in the history of Inner Mongolia's two-person station, and a large number of investigations were also made on the opera troupes before liberation and the troupe after liberation. Sixth, on the basis of the analysis of the existing situation of Errentai in Inner Mongolia, the prospect of its development is forecasted. Finally, the conclusion is drawn. In the process of its development, Errentai of Inner Mongolia absorbs and draws lessons from other art forms, and maintains and forms certain characteristics. At present because of various reasons, it is faced with the same survival difficulties as many small plays, but it has a relatively good living condition, and can provide some experience for reference to the reform of today's opera.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J825

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相關(guān)期刊論文 前2條

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本文編號：1408209