本文選題：太康道情戲　切入點：音樂　出處：《新疆師范大學》2010年碩士論文

【摘要】：河南太康道情戲是黃河流域流行的地方稀有劇種之一,流傳于河南省太康縣及其周邊地區(qū),是屬于道情戲的重要一支,是國家首批非物質(zhì)文化遺產(chǎn)。因其在形成之初所演劇目內(nèi)容多是關于農(nóng)村的生活戲,所以形成了以“三小戲”(小生、小旦、小丑)為主的角色行當。目前,河南省太康縣的道情劇團是傳承太康道情戲的唯一載體。劇團在成立之初曾經(jīng)有過一段輝煌時期,但近年來隨著多元化娛樂方式的不斷涌現(xiàn)、老百姓審美觀念的不斷改變,導致中國戲曲藝術的不斷衰微。太康道情戲的生存狀態(tài)也同樣面臨著巨大的危機,正處在演出市場逐漸萎縮和觀眾群老化的處境中,加之政府扶持、媒體宣傳等非常有限,導致劇團一些優(yōu)秀的演職人員因生活所迫跳槽和轉行的現(xiàn)象日益加劇。太康道情戲的興衰過程正是中國地方戲曲發(fā)展的一個縮影。所以,研究和關注非物質(zhì)文化遺產(chǎn)這種活態(tài)文化傳統(tǒng)的存在與可持續(xù)發(fā)展已經(jīng)刻不容緩。 主要運用了田野調(diào)查法、文獻資料法、訪談法等,對太康道情戲的形態(tài)及傳承發(fā)展現(xiàn)狀進行分析和論述。在全文布局上,除緒論和結語外,共從四個部分進行描述和闡釋: 第一部分講述了太康道情戲的社會背景。主要介紹太康道情戲產(chǎn)生的各種環(huán)境; 第二部分講述了太康道情戲的發(fā)展與變遷。梳理太康道情戲的發(fā)展軌跡; 第三部分結合譜例介紹太康道情戲的音樂。闡述太康道情戲的唱腔特色、表演形式、樂隊伴奏情況等,從不同角度分析太康道情戲的音樂特征; 第四部分是對太康道情戲傳承現(xiàn)狀的調(diào)查與分析。通過田野調(diào)查法、文獻資料法、訪談法等,對維系太康道情戲的唯一傳承載體——太康道情劇團進行深入細致的調(diào)查,對太康道情戲的現(xiàn)狀進行分析,最后提出有關地方稀有劇種以及相類似的非物質(zhì)文化遺產(chǎn)生存與發(fā)展有益的建議,旨在為傳承、保護和發(fā)展非物質(zhì)文化遺產(chǎn)提供參考。
[Abstract]:Taikang Taoism Opera in Henan Province is one of the most popular local rare dramas in the Yellow River Basin. It is an important branch of Taoism Opera, which is spread in Taikang County of Henan Province and its surrounding areas. It was the first batch of intangible cultural heritages of the country. Since most of its repertoire at the beginning of its formation was about rural life drama, it formed a "three small drama" (Xiao Sheng, Xiao Dan, and clown) as the main role. At present, The Taoist Opera Troupe of Taikang County in Henan Province is the only carrier for inheriting Taikang Daoqing Opera. The troupe had a glorious period at the beginning of its establishment, but in recent years, with the continuous emergence of diversified entertainment methods, the aesthetic concept of the common people has been constantly changed. This has led to the continuous decline of Chinese opera art. Taikang Taoist drama is also facing a huge crisis. It is in a situation where the performance market is gradually shrinking and the audience is aging, together with government support, media publicity, and so on. As a result, some of the outstanding performers of the troupe have been forced to change jobs and careers because of their daily lives. The rise and fall of Taikang Taoist drama is a microcosm of the development of Chinese local operas. So, It is urgent to study and pay attention to the existence and sustainable development of intangible cultural heritage. This paper mainly uses the field investigation method, the literature method, the interview method and so on, carries on the analysis and the elaboration to the Taikang Taoist sentiment drama form and the inheritance development present situation. In the full text layout, in addition to the introduction and the conclusion, altogether carries on the description and the explanation from the four parts:. The first part describes the social background of Taikang Taoist drama. The second part describes the development and changes of Taikang Taoist drama. The third part introduces the music of Taikang Daoqing drama combined with the music examples, expounds the singing features, performance forms, band accompaniment and so on, and analyzes the musical characteristics of Taikang Daoqing drama from different angles. The fourth part is the investigation and analysis of the present situation of Taikang Taoist love drama. Through field investigation, literature, interview and so on, the Taikang Taoist drama troupe, the only carrier to maintain Taikang Taoism drama, is investigated deeply and meticulously. This paper analyzes the present situation of Taikang Taoist love drama, and finally puts forward some useful suggestions on the survival and development of local rare drama and similar intangible cultural heritage in order to provide reference for inheritance, protection and development of intangible cultural heritage.
【學位授予單位】：新疆師范大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：J825

【引證文獻】

相關期刊論文 前1條

1 蘇全有;劉振興;;建國以來河南近代戲曲史研究述評[J];周口師范學院學報;2013年01期

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本文編號：1663372