本文選題：皮影戲　切入點：城市語境　出處：《山東藝術學院》2011年碩士論文　論文類型：學位論文

【摘要】：泰山皮影戲是在近年民俗熱和申遺熱的浪潮中脫穎而出的一個有趣個案，官方的肯定褒揚與鄉(xiāng)土受眾群體的疏遠失落形成了強烈的反差。一方面，2006年，山東省泰安市的泰山皮影戲作為山東皮影戲藝術的代表入選首批國家級非物質文化遺產(chǎn)保護名錄，同年獲得文化部頒布的首屆“文化遺產(chǎn)日獎”，傳承人范正安亦獲得諸多榮譽稱號；另一方面，泰山皮影戲頻繁出入于國內外高規(guī)格的文化交流和商業(yè)演出活動，在本地域卻較少有固定的演出時間和機會。城市中的較高知名度和一般村落居民對它的孤陋寡聞有著鮮明對比。 長成在城市文化氛圍里的泰山皮影戲，在非物質文化遺產(chǎn)保護工程的裹挾下不但使本已湮沒在城市文化記憶里的脈搏在新世紀初重新跳動，而且傳承人在山東皮影整體沒落的形態(tài)下，還能游刃有余地將自己的社會影響力發(fā)揮到極致。城市空間、國家立場和文化傳承偶然在一個民間游藝民俗上邂逅碰撞，僅此一點也使習慣了立足村落研究的民俗學者將之視為異數(shù)。從民俗學、人類學的角度看，傳統(tǒng)意義上的民俗研究主張奠基于鄉(xiāng)民文化，，它的依托環(huán)境無疑應該是部落、村社、鄉(xiāng)村，以及鄉(xiāng)土氣息濃厚的城鎮(zhèn)。泰山皮影戲恰巧倒置了這種單一語境的生存狀態(tài)和文化傳播渠道，鄉(xiāng)村與城市，傳統(tǒng)與現(xiàn)代、農(nóng)業(yè)與工業(yè)——生存在傳統(tǒng)文化網(wǎng)絡結構中的民間戲曲這次在霓虹燈的照射下折射出耐人尋味的色彩。泰山皮影戲無疑也成為民間游藝民俗研究的一個特例。 從游藝民俗與市民文化的互動關系著眼，論文共分四大部分：引言部分即本文的研究緣起，主要描述了本文研究的意義、目的、方法等內容。首章主要將泰山皮影置于山東皮影流派的整體框架和中國皮影的歷史節(jié)點中探索其歷史淵源。聯(lián)系泰山皮影的現(xiàn)有形態(tài)，追問其皮影技藝的傳承在歷史變革中有沒有斷裂或重塑的可能；同時通過山東皮影流派的比較，也試探反駁了山東皮影沒有原生土壤的傳統(tǒng)觀點。第二章，重點描述了泰山皮影戲固態(tài)的審美形式和活態(tài)的舞臺情境，通過綜合其藝術形態(tài)的探討，客觀理性地分析其真正的民間藝術價值和審美價值，并對其與村落皮影的個性差別進行反思。第三章，將泰山皮影戲納入城市母體及其與宗教、俗信、泰山道教等多重文化語境下，將游藝民俗與市民文化的互動關系放在城市經(jīng)濟文化的大背景下綜合比較，結合泰山文化和泰安城市的文化個性和民間藝人的市民屬性得出論文結論。
[Abstract]:Taishan shadow play is an interesting case that stands out from the tide of folklore fever and inheritance fever in recent years. The official affirmation and the loss of the local audience groups formed a strong contrast. On the one hand, in 2006, Taishan shadow play in Tai'an City, Shandong Province, as a representative of Shandong shadow play art, was selected as the first batch of national intangible cultural heritage protection lists. In the same year, he was awarded the first "Cultural Heritage Day Award" issued by the Ministry of Culture. Fan Zhengan, the inheritor, also received many honorary titles. On the other hand, Taishan Shadow Drama frequently went out and down in high-level cultural exchanges and commercial performances at home and abroad. In this region, however, there are few fixed performance time and opportunities. The city's higher visibility and the average village residents have a sharp contrast to its ignorance. The Taishan shadow play, which has grown up in the city's cultural atmosphere, has not only revived the pulse that has been lost in the city's cultural memory at the beginning of the new century, but also under the influence of the intangible cultural heritage protection project. Moreover, in the form of the overall decline of the shadow shadow in Shandong, the inheritors can also easily exert their social influence to their extreme. Urban space, national position and cultural heritage occasionally encounter a folk entertainment folklore by chance. Only this makes folk scholars who are used to the study of villages regard it as different. From the point of view of folklore and anthropology, traditional folklore studies are based on the culture of the villagers. Its environment should undoubtedly be tribal, village and community. Rural areas, and towns with strong local flavor, Taishan shadow play happened to reverse this single context of survival and cultural transmission channels, rural and urban, traditional and modern, Agriculture and industry-Folk operas living in the network structure of traditional culture reflect interesting colors under the light of neon lights. Taishan shadow play has undoubtedly become a special case of folk art folklore research. From the interactive relationship between folk art and civic culture, the paper is divided into four parts: the introduction part is the origin of this study, mainly describes the significance and purpose of this study. In the first chapter, Taishan shadow is placed in the overall framework of Shandong shadow school and the historical node of Chinese shadow to explore its historical origin. Ask whether it is possible to break or reshape the inheritance of his shadow art in the course of historical transformation; at the same time, through the comparison of Shandong shadow schools, I also try to refute the traditional view that Shandong shadow has no original soil. Chapter two, This paper mainly describes the solid aesthetic form and live stage situation of Taishan shadow play, analyzes its real folk art value and aesthetic value objectively and rationally by synthesizing its artistic form. In the third chapter, the Taishan shadow play is brought into the city mother body and its multi-cultural context, such as religion, popular belief, Taishan Taoism, etc. The interactive relationship between recreation folklore and citizen culture is comprehensively compared under the background of urban economy and culture, and the conclusion is drawn by combining Taishan culture with the cultural personality of Tai'an city and the civic attributes of folk artists.
【學位授予單位】：山東藝術學院
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J827

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