本文選題：評(píng)彈 + 流派��； 參考：《上海音樂學(xué)院》2012年博士論文

【摘要】：評(píng)彈,是流行于長(zhǎng)江三角洲說吳語方言之地的曲藝品種,“評(píng)”乃“評(píng)話”,“彈”為“彈詞”,為與其他地區(qū)的評(píng)話、彈詞相區(qū)別,故冠以發(fā)源地蘇州之名又稱“蘇州評(píng)彈”。追溯“評(píng)彈”一詞的由來,自清中葉以來,由于蘇州評(píng)話與蘇州彈詞在同一地區(qū)流行并同在書場(chǎng)演出,表演亦有相通之處,抗日戰(zhàn)爭(zhēng)勝利以后,成立評(píng)彈協(xié)會(huì)時(shí),兩個(gè)曲種合并稱為“評(píng)彈”。 該文的研究對(duì)象是評(píng)彈的流派,即評(píng)彈界自稱的“某調(diào)”。流派對(duì)于戲曲、曲藝而言是曲種發(fā)展至成熟階段出現(xiàn)的特殊現(xiàn)象,對(duì)流派的歷史與變遷的考量能夠有效地關(guān)照曲種的發(fā)展。筆者通過對(duì)評(píng)彈流派興盛的兩個(gè)黃金期(20世紀(jì)二三十年代和20世紀(jì)50年代)與當(dāng)今流派發(fā)展的歷時(shí)比較分析,使用“流派機(jī)制”這一分析工具,通過對(duì)各個(gè)構(gòu)成要素的比較,關(guān)注了評(píng)彈流派的歷史與變遷。從而認(rèn)為,其一,當(dāng)今評(píng)彈沒有新流派產(chǎn)生的原因是整個(gè)流派機(jī)制的缺失,失去流派生成、發(fā)展的生態(tài)環(huán)境；其二,原有流派在當(dāng)今社會(huì)所發(fā)生的變遷從而導(dǎo)致流派意義和功能轉(zhuǎn)化,朝著舞臺(tái)化藝術(shù)化方向發(fā)展,并產(chǎn)生上海、蘇州的地域性差別。 該文所探討的問題隸屬于“傳統(tǒng)在當(dāng)代”的大論題,其關(guān)注點(diǎn)在“城市化進(jìn)程中中國(guó)傳統(tǒng)文化的生存問題”,聚焦點(diǎn)在“中國(guó)傳統(tǒng)曲藝評(píng)彈的生態(tài)”。多年來評(píng)彈都沒有新的流派產(chǎn)生,而原有流派也發(fā)生了變遷,筆者探尋的是造成這一生態(tài)背后的原因和發(fā)展趨勢(shì)。在研究理念上,作者堅(jiān)持“整體觀”和“生態(tài)觀”,將文化現(xiàn)象放置于動(dòng)態(tài)發(fā)展的歷史語境與生態(tài)系統(tǒng)中,使用歷史敘事和現(xiàn)實(shí)敘事相結(jié)合的敘述方式,試圖探討評(píng)彈流派在上海的歷史與變遷及其背后的文化意義。
[Abstract]:"criticism" is a popular quyi variety in the Yangtze River Delta, where Wu dialect is spoken. "comment" is "comment", "play" is "Tanci", and it is different from other regional criticism. Therefore, the place of origin of Suzhou also known as the "Suzhou bomb evaluation." Tracing back to the origin of the word "bomb evaluation", since the middle of the Qing Dynasty, because Suzhou dialect and Suzhou Tanci were popular in the same area and performed at the same bookshop, there were similarities in the performances. After the victory of the War of Resistance against Japan, when the Society for Appraisal of bombs was established, The combination of the two species is called "bomb evaluation". The research object of this paper is the genre of bomb evaluation, that is, the "certain tune" that the critics call themselves. Genre for opera, quyi art is a special phenomenon in the development of genre to mature stage, the consideration of the school history and changes can effectively take care of the development of the genre. The author makes a comparative analysis of the development of the two golden periods in which the school is flourishing in the 1920s, 1930s and 1950s) and the development of the school today. By using the tool of "school mechanism", the author makes a comparison of the elements of each component. It pays close attention to the history and changes of the genre. As a result, first, the reason why there is no new school of assessment in modern times is the absence of the mechanism of the whole school, the loss of the ecological environment in which schools are formed and developed; the second is the ecological environment in which schools are formed and developed. The changes of the original schools in today's society lead to the transformation of the meaning and function of the schools and the development towards the stage of art and the regional differences between Shanghai and Suzhou. The problem discussed in this paper belongs to the topic of "tradition in the Contemporary", which focuses on "the survival of Chinese traditional culture in the process of urbanization", and focuses on "Ecology of Chinese traditional Quyi criticism". For many years, there is no new school in the evaluation of bomb, and the original school has also changed. The author explores the cause and development trend behind this ecology. On the research idea, the author insists on the "whole view" and "ecological view", puts the cultural phenomenon in the historical context and ecosystem of dynamic development, and uses the narrative mode of combining historical narrative and realistic narrative. This paper attempts to probe into the history and changes of the genre in Shanghai and the cultural significance behind it.
【學(xué)位授予單位】：上海音樂學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：J826

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本文編號(hào)：1853473