發(fā)布時(shí)間：2018-01-29 19:19

  本文關(guān)鍵詞： 龍江劇 二人轉(zhuǎn) 傳承 變遷 新興劇種 戲曲發(fā)展　出處：《中央音樂(lè)學(xué)院》2010年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】： 本文以龍江劇對(duì)其母體二人轉(zhuǎn)因素的傳承與發(fā)展為研究對(duì)象,以兩者共同的生存環(huán)境和歷史語(yǔ)境、音樂(lè)、表演與人物文化內(nèi)涵的傳承與發(fā)展為切入點(diǎn),層層遞進(jìn),試圖找到在黑龍江地域生活的人們,共同擁有的聯(lián)想模式、思維規(guī)則和隱喻邏輯,對(duì)兩種藝術(shù)形式的共性因素加以闡述。在此基礎(chǔ)上,作者還看到兩種藝術(shù)形式存在著根本性差異,試圖通過(guò)研究,尋找傳統(tǒng)二人轉(zhuǎn)因素在龍江劇中進(jìn)行適應(yīng)性轉(zhuǎn)型的線索,關(guān)注龍江劇中二人轉(zhuǎn)因素如何變化與發(fā)展。 雖然龍江劇自誕生以來(lái),僅有短短的五十年歷史。但這門(mén)誕生并深深植根于黑土地的民間戲曲形式,囊獲了戲曲藝術(shù)界的最高獎(jiǎng)項(xiàng)。任何藝術(shù)形式的存在,都以受眾為前提,龍江劇的發(fā)展同樣離不開(kāi)觀眾。龍江劇的風(fēng)格熱情、親切,貼近生活,使大多數(shù)觀眾能夠并愿意接受它。龍江劇在同類(lèi)新興劇種中,可用“獨(dú)樹(shù)一幟”、“生機(jī)勃勃”來(lái)概括,其發(fā)展的過(guò)程足以引起戲劇界與學(xué)者的關(guān)注。本文期望對(duì)龍江劇發(fā)展中與傳統(tǒng)因素關(guān)系進(jìn)行深入研究,給同類(lèi)型劇種發(fā)展一點(diǎn)啟示,引發(fā)其他研究者對(duì)整個(gè)中國(guó)戲曲發(fā)展的更多思考。 本文以文獻(xiàn)梳理為前提,通過(guò)實(shí)地考察對(duì)研究對(duì)象進(jìn)行感性認(rèn)識(shí),運(yùn)用音樂(lè)本體分析、比較、美學(xué)、民族音樂(lè)學(xué)等研究方法,達(dá)到上述研究目的。本文共分四章：第一章對(duì)二人轉(zhuǎn)、龍江劇共同生存的地理環(huán)境、文化土壤進(jìn)行分析；第二章從龍江劇的音樂(lè)入手進(jìn)行分析；第三章以龍江劇表演體系與二人轉(zhuǎn)舞蹈、絕技的關(guān)系作為研究對(duì)象；第四章是對(duì)龍江劇人物進(jìn)行文化闡釋,以前三章的研究為基礎(chǔ),從龍江劇、二人轉(zhuǎn)人物被“渲染”的鄉(xiāng)土特征、龍江劇、二人轉(zhuǎn)共同擁有的“女愛(ài)男”的結(jié)構(gòu)模式,尋找這種模式的文化原型及形成的原因。整體的研究以梅里安姆的概念——行為——音聲為理論框架,了解龍江劇對(duì)二人轉(zhuǎn)因素繼承與發(fā)展的狀況并對(duì)兩者關(guān)系進(jìn)行梳理。
[Abstract]:This paper takes the inheritance and development of the two elements of the parent body of Longjiang Opera as the research object, and takes the common living environment and historical context, music, performance and cultural connotation of characters as the breakthrough point. In order to find the associative mode, thinking rules and metaphorical logic shared by the people living in Heilongjiang region, this paper expounds the common factors of the two artistic forms. The author also sees that there are fundamental differences between the two forms of art, trying to find the clues of the adaptation transformation of the traditional "Errenzhuan" factor in Longjiang dramas through the research. Pay close attention to the change and development of the two characters in Longjiang dramas. Although Longjiang opera has only a short history of 50 years since it was born, this folk opera form, which was born and deeply rooted in the black earth, has won the highest prize in the field of opera art. Any form of art exists. The development of Longjiang Drama can not be separated from the audience. The style of Longjiang Opera is warm, cordial and close to life, so that most of the audience can and will accept it. Longjiang Opera in the same kind of new drama. Can be "unique", "vibrant" to sum up, its development process is enough to attract the attention of the theater and scholars. This article looks forward to the development of Longjiang drama and the traditional factors of in-depth study. To the development of the same type of drama a little enlightenment, causing other researchers to the development of the whole Chinese opera more thinking. On the premise of literature combing, this paper carries on the perceptual understanding to the research object through the field investigation, uses the music ontology analysis, the comparison, the esthetics, the ethnomusicology and so on the research method. This paper is divided into four chapters: the first chapter analyzes the geographical environment and cultural soil of Errenzhuan and Longjiang Opera. The second chapter analyzes the music of Longjiang opera. The third chapter focuses on the relationship between the performance system of Longjiang opera and the dance of Errenzhuan as well as the stunts. Chapter 4th is the cultural interpretation of the characters of Longjiang opera, the previous three chapters of the study as the basis, from the Longjiang drama, the two characters by "rendering" of the local characteristics, Longjiang drama. The structural pattern of "women love men", the cultural archetypes and the reasons for the formation of this model, are sought. The whole study is based on the concept of Meryam-Behavioral Sound. To understand the status of the inheritance and development of the two-person-rotation factors in Longjiang dramas and to sort out the relationship between the two.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J825

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 李建軍;;1949年以來(lái)新劇種研究綜述[J];歌海;2012年06期

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本文編號(hào)：1474158