本文選題：兩宋傀儡戲 + 《東京夢(mèng)華錄》��； 參考：《四川戲劇》2015年09期

【摘要】：宋代是傀儡戲的興盛時(shí)期,種類(lèi)多達(dá)五種,從業(yè)人員眾多,并形成較為專(zhuān)業(yè)的團(tuán)隊(duì),演出場(chǎng)地也相對(duì)固定。皇家的關(guān)愛(ài)推崇和民眾的喜聞樂(lè)見(jiàn)勢(shì)必導(dǎo)致其演出頻繁與從業(yè)人員的不斷增多,從而使傀儡戲在兩宋時(shí)期空前繁榮。無(wú)論是從業(yè)人員、演出形式,還是演出場(chǎng)地、欣賞對(duì)象以及由此衍生出的相關(guān)物事等,都達(dá)到了空前絕后的高度。本文通過(guò)鉤稽宋代五種都市筆記及相關(guān)文獻(xiàn)中的材料,分析了兩宋傀儡戲的特征和表現(xiàn),進(jìn)而探究其興盛原因。
[Abstract]:The Song Dynasty was the flourishing period of puppet operas. There were five kinds of puppet operas, many employees, and formed a more professional team, and the performance venue was relatively fixed. The love and esteem of the royal family and the popularity of the people will inevitably lead to the frequent performances and the increasing number of practitioners, thus making the puppet drama an unprecedented prosperity in the Song Dynasty. No matter the personnel, the form of the performance, the venue, the object of appreciation and the related things derived therefrom, all of them have reached an unprecedented height. This paper analyzes the characteristics and performance of puppet drama in Song Dynasty and probes into the reasons for its prosperity through the analysis of five kinds of urban notes and related documents in the Song Dynasty and the analysis of the characteristics and performance of the puppet drama in the Song Dynasty.
【作者單位】： 國(guó)家圖書(shū)館;綿陽(yáng)師范學(xué)院文學(xué)院;
【基金】：教育部人文社會(huì)科學(xué)研究項(xiàng)目“宋代都市筆記俗語(yǔ)研究”的研究成果,項(xiàng)目編號(hào):13XJC740004
【分類(lèi)號(hào)】：J827

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本文編號(hào)：1890311