本文選題：蒲劇　切入點(diǎn)：現(xiàn)代戲　出處：《山西師范大學(xué)》2012年碩士論文

【摘要】：蒲州梆子是產(chǎn)生較早的梆子聲腔劇種，民間習(xí)稱“亂彈”，清代稱“梆子腔”或“山陜梆子”，民國(guó)初年稱“蒲州梆子”，20世紀(jì)30年代始稱蒲劇，現(xiàn)主要流行于山西西南部（通常稱晉南）和豫西、陜北部分地區(qū)。自形成到現(xiàn)在，蒲州梆子隨著時(shí)代的變遷而演進(jìn)，為中國(guó)傳統(tǒng)文化的傳承起到了積極的、多層面的作用，對(duì)中國(guó)戲曲梆子聲腔家族的繁衍產(chǎn)生過(guò)舉足輕重的影響。 蒲劇編演現(xiàn)代戲時(shí)間不長(zhǎng)，始于20世紀(jì)初期。有確切史料可查，第一個(gè)出現(xiàn)在蒲劇舞臺(tái)上的時(shí)裝戲，是浮山人劉本昌民國(guó)元年（1911）創(chuàng)作，民國(guó)十三年（1924）首演于平陽(yáng)（今臨汾）的《浮訌圖》。蒲劇有數(shù)百年的悠久歷史，積累了豐富的劇目，形成了自身獨(dú)有的劇種風(fēng)格和表演特色，這種深厚的傳統(tǒng)一直從好壞兩個(gè)方面影響著蒲劇的發(fā)展。譬如在排演傳統(tǒng)戲或歷史故事劇時(shí)，就容易繼承、借鑒，吸收和創(chuàng)造，但在排演現(xiàn)代戲時(shí)，角色行當(dāng)、音樂(lè)唱腔、表演技巧等就難以輕而易舉將原有的東西加以調(diào)配運(yùn)用，既難以割舍傳統(tǒng)又難以在傳統(tǒng)的基礎(chǔ)上改造和創(chuàng)新，傳統(tǒng)反而成了包袱，可見(jiàn)與不可見(jiàn)地成了蒲劇革新發(fā)展的阻礙。正是由于這個(gè)原因，蒲劇藝術(shù)團(tuán)體演出的尤其是自己創(chuàng)作的現(xiàn)代戲很少，在這方面與兄弟劇種相比，有明顯的差距。目前蒲劇現(xiàn)代戲發(fā)展出現(xiàn)停滯現(xiàn)象，要想更好的發(fā)展，必須進(jìn)行改革創(chuàng)新。通過(guò)對(duì)省內(nèi)幾部有代表性現(xiàn)代戲的劇本分析，幫助蒲劇從兄弟劇種吸收和借鑒好的創(chuàng)作經(jīng)驗(yàn)。從晉劇現(xiàn)代戲《油燈燈開(kāi)花》中學(xué)習(xí)如何在矛盾中凸現(xiàn)、塑造人物形象和性格；從北路梆子現(xiàn)代戲《黃河管子聲》中學(xué)習(xí)如何體現(xiàn)戲的詩(shī)化韻律；從上黨梆子現(xiàn)代戲《丹鳳朝陽(yáng)》中學(xué)習(xí)如何鋪設(shè)矛盾、編織情節(jié)。從京劇樣板戲中獲得啟示：大膽對(duì)蒲劇唱腔、音樂(lè)進(jìn)行創(chuàng)新與尋求突破突破，語(yǔ)言改革方面追求比較口語(yǔ)化的唱詞，希望唱詞里體現(xiàn)生活氣息、人物性格。民間文化背景的滲透方面，戲曲作品愈接近民間的題材就愈容易寫(xiě)好，愈接近民間的角色就愈生動(dòng)。 隨著時(shí)代的發(fā)展，很多傳統(tǒng)的藝術(shù)都因?yàn)楦鞣N各樣的原因逐漸被時(shí)代拋棄，臨汾的蒲劇藝術(shù)也面臨這樣的尷尬處境，，掙扎在時(shí)代的變革中，面對(duì)臨汾的蒲劇藝術(shù)的生存現(xiàn)狀，本文希望通過(guò)對(duì)各劇種劇本的研究，盡可能幫助蒲劇拓寬發(fā)展空間。通過(guò)走訪各地文化部門(mén)及院團(tuán)老藝人、劇作家、導(dǎo)演等，加深對(duì)書(shū)面材料的理解，以期對(duì)蒲劇藝術(shù)在文本、劇目創(chuàng)新上如何發(fā)展，有一個(gè)初步構(gòu)想，使蒲劇的特點(diǎn)更加突出，并對(duì)蒲劇藝術(shù)傳承發(fā)展略盡綿薄之力。由于筆者初次嘗試寫(xiě)這樣的論文，錯(cuò)誤和不妥之處，懇請(qǐng)專家、學(xué)者批評(píng)指正。
[Abstract]:Pu Zhou Bangzi is a kind of opera of Bangzi opera, which is used to be called "Tang Pun", "Clapper tune" or "Shan Shan Bangzi" in Qing Dynasty, and "Puzhou Bangzi" in the early Republic of China, which began to be called "Puju Bangzi" in the 1930s. It is mainly popular in southwest Shanxi (commonly known as southern Shanxi) and parts of western Henan and northern Shaanxi. Since its formation, Puzhou Bangzi has evolved with the changes of the times, which has played a positive and multi-level role in the inheritance of Chinese traditional culture. Chinese opera Bangzi vocal family has had a decisive impact on the reproduction. The period of writing and performing modern drama was not long, which began in the early 20th century. The first fashion drama to appear on the stage of Po Opera was created by Liu Benchang, a man of Fushan, in the first year of the Republic of China (1911). In 1924) he premiered in Pingyang (today's Linfen), "the Flying fiasco". Pu Opera has a long history of hundreds of years, has accumulated rich repertoire, and formed its own unique style and performance characteristics. This profound tradition has always influenced the development of Puju from two aspects, good or bad. For example, it is easy to inherit, learn from, absorb and create when rehearsing traditional or historical drama. Performance skills and so on will be difficult to easily deploy the original things to use, it is difficult to abandon the tradition and difficult to reform and innovation on the basis of tradition, but the tradition has become a burden. It can be seen that it has become an obstacle to the innovation and development of Puju Opera. It is precisely for this reason that there are few modern operas performed by Puju art groups, especially those created by themselves. In this respect, compared with brother dramas, There is a clear gap. At present, the development of modern opera in Puju has stagnated. In order to achieve better development, we must carry out reform and innovation. Through the analysis of several representative modern drama scripts in the province, To help Pu opera absorb and learn from the good creative experience from the brotherly drama. Learn from the modern drama "Oil Lantern Blooming" of the Jin Opera how to highlight the contradictions and shape the characters and characters; Learn how to embody the poetic rhythm of the opera from Beilu Bangzi Modern Opera, "the Sound of the Yellow River", and learn how to lay contradictions from Shangdang Bangzi Modern Opera, "Danfeng Chaoyang", Weaving plot. Get inspiration from Beijing Opera sample Opera: bold innovation and breakthrough in music, language reform in the pursuit of more colloquial lyrics, hope that singing words reflect the atmosphere of life. Character. The permeation of folk culture background, the closer the opera works are to the folk themes, the easier to write, the closer the folk characters are, the more vivid they are. With the development of the times, many traditional arts have gradually been abandoned by the times for various reasons. Linfen's Puju art is also facing such an awkward situation, struggling in the transformation of the times, facing the survival status of Linfen's Puju art. This paper hopes that through the study of various plays, we can help Puju broaden its development space as far as possible. By visiting local cultural departments and old entertainers, playwrights, directors, etc., we can deepen our understanding of the written materials in order to have a better understanding of the art of Puju in the text. There is a preliminary idea on how to develop the repertoire innovation, which will make the characteristics of Po Opera more prominent, and contribute a little bit to the development of the art inheritance and development of Puju Opera. As the author first tried to write such a paper, it is wrong and inappropriate, so I would like to ask experts. A scholar criticizes and corrects.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J825

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 郭永銳;;山陜眉戶戲研究綜述[J];山西師大學(xué)報(bào)(社會(huì)科學(xué)版);2006年06期

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