本文選題：漢劇　切入點(diǎn)：傳奇　出處：《湖北大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：本論文圍繞“漢劇對(duì)明清傳奇劇目的繼承與發(fā)展”這一論題展開。第一部分是關(guān)于漢劇劇目的發(fā)展?fàn)顩r和現(xiàn)存劇本情況的概述。漢劇劇目的發(fā)展分為四個(gè)重要的歷史時(shí)期：1、漢劇誕生之初到辛亥革命前；2、辛亥革命到新中國(guó)成立；3、新中國(guó)成立到文革結(jié)束；4、文革結(jié)束至今。經(jīng)過(guò)這四個(gè)時(shí)期的發(fā)展,漢劇劇目已經(jīng)豐富多彩,但限于歷史的原因,歷次的整理資料并不完備,有些資料遺失或未見,關(guān)于漢劇劇目的數(shù)量,我們目前尚無(wú)法給予一個(gè)確切的數(shù)字。關(guān)于漢劇的劇本,目前可看到的有400種之多。其中,有同題材明清傳奇作品在先的劇目有100種,這為我們研究漢劇對(duì)明清傳奇劇目的繼承與發(fā)展提供了可能性。第二部分探討漢劇對(duì)明清傳奇劇目的繼承情況。漢劇對(duì)明清傳奇劇目的繼承,主要體現(xiàn)在對(duì)活躍在當(dāng)時(shí)戲曲舞臺(tái)上的清宮廷大戲與折子戲劇目的繼承上。從中可以看出,漢劇對(duì)傳奇劇目的繼承,并不是立身于案頭,對(duì)傳奇整個(gè)劇本的修改截選,而是通過(guò)舞臺(tái),在藝人與藝人、藝人與劇目的交流互動(dòng)中進(jìn)行。第三部分探討漢劇對(duì)明清傳奇劇目的發(fā)展情況。漢劇對(duì)明清傳奇劇目的發(fā)展,主要體現(xiàn)在對(duì)武戲的發(fā)展、對(duì)折子戲劇目的發(fā)展和十大行當(dāng)?shù)拇韯∧可?這是就劇目本身的發(fā)展所做的研究。漢劇對(duì)明清傳奇劇目的發(fā)展改編,使二者表現(xiàn)出不同的特點(diǎn)。第四部分即是以《一捧雪》為例,具體分析這二者的不同特點(diǎn)。通過(guò)比較發(fā)現(xiàn),二者在敘事風(fēng)格、審美精神和情感體驗(yàn)等方面都表現(xiàn)出不同的特點(diǎn)。而這種發(fā)展的趨向和表現(xiàn)出的不同特點(diǎn),正是為適應(yīng)觀眾而作出的選擇。
[Abstract]:This thesis revolves around the topic of "inheritance and development of Han opera to the legendary repertoire of Ming and Qing dynasties". The first part is an overview of the development of Han opera repertoire and the existing script situation. The development of Han opera repertoire is divided into four important parts. Historical period 1: 1, from the beginning of the birth of Han opera to before the Revolution of 1911, from the Revolution of 1911 to the founding of New China, from the founding of New China to the end of the Cultural Revolution and from the end of the Cultural Revolution to now. After these four periods of development, The repertoire of Han opera has been rich and colorful, but limited to historical reasons, the collation of successive materials is not complete. Some of the materials have been lost or not seen. At present, we are unable to give an exact number on the number of plays in Han dramas. At present, there are as many as 400 kinds of plays that can be seen. Among them, there are 100 kinds of dramas with the same theme as the legendary works of the Ming and Qing dynasties. This provides the possibility for us to study the inheritance and development of Han dramas to the legendary repertoire of Ming and Qing dynasties. The second part discusses the succession of Han dramas to the legendary dramas of Ming and Qing dynasties, and the inheritance of Han dramas to the legendary plays of Ming and Qing dynasties. This is mainly reflected in the succession of the Qing court grand opera and the Xianzi opera repertoire, which were active on the stage of the opera at that time. From this, we can see that the Han opera's succession to the legendary repertoire is not a matter of standing on the desk, and the amendment of the entire legendary play is cut off. The third part discusses the development of Han opera to the legendary repertoire of Ming and Qing dynasties. The development of Han opera to the legendary repertoire of Ming and Qing dynasties is mainly reflected in the development of martial arts. This is a study of the development of the repertoire itself and of the representative repertoire of the ten major professions. The development and adaptation of the legendary repertoire of the Ming and Qing dynasties by Han dramas, The 4th part is a case study of "A Pot of Snow" to analyze the different characteristics of the two. Through comparison, it is found that the two are in the narrative style. The aesthetic spirit and emotional experience show different characteristics, and the development trend and the different characteristics are the choices to adapt to the audience.
【學(xué)位授予單位】：湖北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：I207.36;J825

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