本文選題：清代　切入點(diǎn)：宮廷承應(yīng)戲　出處：《中國(guó)藝術(shù)研究院》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：戲曲是一門高度綜合的藝術(shù),它是歌舞、古優(yōu)、角抵戲等眾多門類的藝術(shù)高度融合的結(jié)晶。從萌芽之日起,它就與宮廷產(chǎn)生了深厚的淵源。統(tǒng)治者出于政治目的以及享樂的需要,歌舞、百戲等進(jìn)入宮廷,并且在宮廷中得到了規(guī)范和提升。大規(guī)模的百戲、散樂集演更是促進(jìn)了各門類藝術(shù)的交流與融合,因此說宮廷對(duì)于戲曲的形成是起到過十分積極的作用的。 清代是戲曲藝術(shù)繁盛發(fā)展的時(shí)期。來自關(guān)外的滿族貴族統(tǒng)治者在接受漢族文化的同時(shí)也接受了戲曲藝術(shù)。歷任清朝統(tǒng)治者對(duì)于戲曲藝術(shù)都表現(xiàn)出了極大的興趣,這促使戲曲在宮廷中迅速發(fā)展起來,成為宮廷生活中不可缺少的組成部分。從現(xiàn)存的宮廷戲曲檔案以及宮廷戲曲劇本中可以看出,戲曲藝術(shù)不單單是統(tǒng)治者日常生活中的享樂,它在宮廷的儀禮慶典中占有十分重要的位置。宮廷的儀禮慶典代表著王室的形象,因而儀典中的戲曲演出活動(dòng)從劇目到排場(chǎng)等方方面面都有十分嚴(yán)格的要求。這種特殊的環(huán)境促使清代宮廷承應(yīng)戲顯現(xiàn)出了不同于民間戲曲演出的風(fēng)格與藝術(shù)特色。 雖然環(huán)境是相對(duì)封閉的,但是清代宮廷承應(yīng)戲與民間戲曲的交流一直不曾中斷。民間新興的劇種很快會(huì)傳入宮廷,因而宮廷中戲曲劇種的更迭幾乎與民間可以保持一致。同時(shí),清宮承應(yīng)戲獨(dú)特的藝術(shù)特征也對(duì)民間戲曲產(chǎn)生了深遠(yuǎn)的影響。
[Abstract]:Opera is a highly comprehensive art, it is the song and dance, ancient excellent, angle to play and many other categories of art highly integrated. From the beginning of the day, It had a deep connection with the court. The rulers entered the palace for political purposes and the need for pleasure, singing and dancing, and 100 operas, and were standardized and promoted in the palace. Therefore, the court played a very positive role in the formation of opera. The Qing Dynasty was a period of prosperity and development of opera art. The Manchu aristocratic rulers from Guanwai accepted both Han culture and opera art. All Qing rulers showed great interest in the art of opera. This led to the rapid development of opera in the palace and became an indispensable part of court life. From the existing court drama archives and court drama scripts, we can see that the art of opera is not merely the enjoyment of the rulers' daily life. It occupies a very important place in the ceremony of the court. The ceremony of the court represents the image of the royal family. As a result, there are strict requirements for all aspects of the opera performance activities in the ceremony, such as the drama program and the theatrical performance. This special environment prompted the Qing court court to show different styles and artistic features from the folk opera performance. Although the environment is relatively closed, the exchange between the court response and folk opera in the Qing Dynasty has not been interrupted. The new folk drama will soon be introduced to the court. Therefore, the variety of opera in the court is almost consistent with that of the folk. At the same time, the unique artistic characteristics of the Qing Dynasty Chengying Opera also have a profound influence on the folk opera.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J809.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 李玫;湯顯祖的傳奇折子戲在清代宮廷里的演出[J];文藝研究;2002年01期

相關(guān)碩士學(xué)位論文 前1條

1 程志;京腔研究[D];河北大學(xué);2005年

，

本文編號(hào)：1563653