本文選題：祁門　切入點(diǎn)：目連戲　出處：《上海師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：目連戲是指以目連救母故事為主要題材的劇種的統(tǒng)稱，形成于宋代，是我國戲曲的“活化石”，距今約有一千多年的歷史。如今目連戲已流傳至全國各地，其中包括專演目連救母故事的獨(dú)立劇種和存在于其它劇種之中、演唱目連救母故事相關(guān)劇目的劇種。祁門目連戲即是我國安徽地區(qū)專演目連救母故事的獨(dú)立劇 祁門目連戲主要流行在安徽南部（黃山市）的祁門縣，其故事內(nèi)容源自佛經(jīng)，宣揚(yáng)的是佛家的思想；在我國發(fā)展傳播的過程中，吸收了儒家和道家的思想；徽州的地域文化帶有濃郁的理學(xué)思想，致使流行在徽州的祁門目連戲也深深地帶有理學(xué)思想的烙印。這樣一個(gè)集各家思想的傳統(tǒng)藝術(shù)還與祁門當(dāng)?shù)氐拿袼罪L(fēng)情相結(jié)合，體現(xiàn)著當(dāng)?shù)氐牡赜蛭幕?祁門目連戲的一些唱段與宗教音樂有著淵源關(guān)系，還有一些唱段來源于當(dāng)?shù)鼗蚱渌胤降拿耖g小調(diào)；劇中的大部分角色來自于宗教的神祗和信徒，但人物的性格和部分劇目卻又透著世俗的意味。在過去，祁門目連戲的演出是當(dāng)?shù)刈诮虄x式中的一部分，而現(xiàn)在所有的宗教儀式活動(dòng)都已消失，只留下世俗化的表演。說明祁門目連戲的音樂和劇目內(nèi)容是集宗教和世俗于一體的，演出形式則是由宗教向世俗化轉(zhuǎn)變。 2006年，，祁門目連戲被列入第一批國家級非物質(zhì)遺產(chǎn)名錄。 研究祁門目連戲不僅對祁門目連戲等地方小劇種的推廣和保護(hù)有一定的積極意義，同時(shí)又能直觀地了解我國祁門的地方文化和宗教文化。研究祁門目連戲不僅對中國的戲曲發(fā)展可見一斑，同時(shí)對非物質(zhì)文化遺產(chǎn)的保護(hù)、繼承和發(fā)揚(yáng)也具有理論基礎(chǔ)。 本文分為三個(gè)部分： 第一部分包括第一章，主要內(nèi)容： 1.簡述對目連戲的產(chǎn)生、體裁的變化、題材的豐富和發(fā)展等。2.結(jié)合祁門當(dāng)?shù)氐娘L(fēng)土，概括祁門目連戲的基本形態(tài)。 第二部分包括第二章和第三章，主要內(nèi)容： 1.在前人研究的基礎(chǔ)上對祁門目連戲的音樂形態(tài)進(jìn)行分析，對比祁門各班社的概況和劇目，并分析導(dǎo)致各班社形成差異的原因。2.結(jié)合所記的譜例，對音樂當(dāng)中的宗教性和世俗性進(jìn)行具體分析。3.分析祁門目連戲劇目內(nèi)容當(dāng)中的宗教性和世俗性。4對比演出形式等方面的自身變化，論證祁門目連戲己經(jīng)從一個(gè)“娛神”為主的宗教戲曲轉(zhuǎn)變?yōu)橐粋�(gè)以“娛人”為主要目的的地方戲曲。 第三部分包括第四章和第五章，主要內(nèi)容： 1.根據(jù)祁門目連戲班社的現(xiàn)狀調(diào)查，指出并討論祁門目連戲目前存在的諸多問題。2.對其保護(hù)與發(fā)展做出理性的思考，探求最適合祁門目連戲發(fā)展的方式，并提出改革思路。
[Abstract]:Moulan Opera refers to a variety of operas whose main theme is the story of saving his mother. It was formed in the Song Dynasty and is the "living fossil" of Chinese opera, which has a history of more than 1,000 years. Now it has been spread all over the country. Among them, there are independent operas that play the story of saving mother by Mu Lian and those that exist in other kinds of plays. Qimen Mu Lian is a kind of independent play that plays the story of saving mother from Mu Lian in Anhui Province, and it is related to the story of rescuing mother of Mou Lian, which is related to the story of saving mother from Mu Lian in Anhui Province. Qimen Mu Lian Opera is popular in Qimen County in southern Anhui Province (Huangshan City). Its story content originates from Buddhist sutras and propagates the thought of Buddhism, and absorbs the thought of Confucianism and Taoism in the process of development and dissemination in our country. The regional culture of Huizhou has strong Neo-Confucianism thought, which causes the popular Qimen Mulian Opera in Huizhou to also carry the brand of Neo-Confucianism deeply. Such a traditional art, which gathers various thoughts, is also combined with Qimen's local folk customs and amorous feelings. Reflect the local regional culture. Some of Qimen mulian operas have a relationship with religious music, and some of them come from local or other folk minor tunes. Most of the characters in the play come from religious gods and believers. In the past, Qimen's performances were part of the local religious rituals, but now all religious rituals have disappeared. It shows that the music and repertoire of the Mu Lian opera of Qimen is a combination of religion and secular, and the form of performance is from religion to secularization. In 2006, Qimen Mu Lian Opera was included in the first batch of national intangible heritage list. The study of the Mu Lian Opera in Qimen is not only of positive significance to the promotion and protection of the local small drama, such as the Mu Lian Opera in Qimen, At the same time, it can directly understand the local culture and religious culture of Qimen. The study of Qimen mulian Opera is not only a sign of the development of Chinese opera, but also a theoretical basis for the protection, inheritance and development of intangible cultural heritage. This paper is divided into three parts:. The first part includes the first chapter, the main content:. 1. Brief introduction to the production, genre change, theme enrichment and development of Mutian Opera, etc. Combined with Qimen local style, the paper summarizes the basic form of Qimen Mulian Opera. The second part includes the second chapter and the third chapter, the main content:. 1. On the basis of previous studies, the music form of Mutian Opera in Qimen is analyzed, and the general situation and repertoire of each class in Qimen are compared. Analyze concretely the religious and secular nature of music .3. analyze the religious and secular aspects of Qimen's mulian drama contents. 4 contrast the forms of performances and other aspects of their own changes. Qimen mulian opera has changed from a religious opera of "amusing god" to a local opera with "entertaining people" as its main purpose. The third part includes 4th chapters and 5th chapters. 1.According to the investigation of the present situation of Qimen mulian opera troupe, this paper points out and discusses many problems existing in Qimen mulian opera at present. 2. It makes rational thinking on its protection and development, explores the most suitable way for the development of Qimen mulian opera, and puts forward the reform ideas.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J809.2

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