本文選題：孝義影戲藝人 + 調(diào)查與研究�。� 參考：《山西大學(xué)》2011年碩士論文

【摘要】：本文以民國以來孝義影戲藝人為研究對(duì)象,以田野調(diào)查為突破口,對(duì)這一群體的學(xué)藝、演藝、日常生活以及社會(huì)地位進(jìn)行了系統(tǒng)的分析,全面展現(xiàn)了不同歷史時(shí)期該群體的生存狀態(tài)。 文章論述了三個(gè)方面的內(nèi)容：(一)運(yùn)用口述史資料和文史資料,系統(tǒng)分析了孝義影戲藝人在不同歷史時(shí)期的學(xué)藝原因、學(xué)藝途徑、學(xué)藝內(nèi)容,在展現(xiàn)其學(xué)藝經(jīng)歷的同時(shí),也揭示了時(shí)代變遷對(duì)孝義影戲藝人學(xué)藝經(jīng)歷的影響。(二)根據(jù)大量詳實(shí)的田野材料,從抗日戰(zhàn)爭以前、中國共產(chǎn)黨領(lǐng)導(dǎo)的戰(zhàn)爭時(shí)期、新中國建立后至改革開放前、改革開放以來四個(gè)階段多方面深刻論述了孝義影戲藝人在不同歷史時(shí)期演藝活動(dòng)的時(shí)空特點(diǎn)、社會(huì)功用、演出劇目,從而再現(xiàn)其演藝活動(dòng)的歷史變遷,進(jìn)而更深刻地了解整個(gè)孝義地方社會(huì)的變遷。(三)從孝義影戲藝人的婚姻與家庭、收入與生活等方面來呈現(xiàn)其日常生活的情況；同時(shí)從精英與大眾以及皮影藝人自我定位等不同視角分析了孝義影戲藝人的社會(huì)地位。最后,綜合前面的研究,整體勾勒出孝義影戲藝人在社會(huì)變遷、動(dòng)蕩的大背景下,不時(shí)調(diào)適自己的形象以適應(yīng)主流社會(huì)的要求,進(jìn)而與主流社會(huì)合作與共謀,使其生活不斷得以延續(xù)的歷史軌跡,說明了傳統(tǒng)與現(xiàn)代之間的相互融合。 文章從歷史人類學(xué)的角度,運(yùn)用歷史學(xué)、民俗學(xué)、人類學(xué)等多學(xué)科相結(jié)合的研究方法,以田野調(diào)查所得資料為基本依據(jù),輔之以文獻(xiàn)資料,對(duì)孝義影戲藝人這一群體的學(xué)藝經(jīng)歷、演藝生活、日常生活及其社會(huì)地位進(jìn)行了分析與研究,盡力勾勒出該群體在歷史變遷過程中的生命軌跡。使人們對(duì)他們能有一個(gè)全面、深入的認(rèn)識(shí)。
[Abstract]:This article takes the Xiaoyi Shadow Artist since the Republic of China as the research object, takes the field investigation as the breakthrough point, has carried on the systematic analysis to this group's study skill, the performance, the daily life and the social status. It shows the existence of this group in different historical periods. This article discusses three aspects of content: (1) using oral history and literary and historical data, systematically analyzes the reasons, approaches and contents of Xiao-yi film opera artists' learning skills in different historical periods, and at the same time shows their learning experience. It also reveals the influence of the changing times on the learning experience of Xiaoyi Shadow Opera artists. (2) according to a large number of detailed field materials, from before the War of Resistance against Japan, during the war led by the Communist Party of China, after the founding of New China and before the reform and opening up, Since the reform and opening up to the outside world, the four stages of the reform and opening to the outside world have profoundly discussed the space-time characteristics, social functions and performances of the performance activities of the performers in different historical periods, so as to reproduce the historical changes of their performing arts activities. And then a deeper understanding of the changes of the whole Xiaoyi local society. (3) it presents the situation of daily life from the aspects of marriage and family, income and life of Xiaoyi Shadow Artist, and analyzes the social status of Xiaoyi Shadow Artist from different angles, such as elite, public and shadow artist's self-orientation. Finally, synthesizing the previous research, the overall outline of the filial piety film artists in the social changes, turbulent background, from time to adjust their image to adapt to the requirements of the mainstream society, and then cooperate with the mainstream society and collusion. The historical track that makes its life continue, shows the fusion of tradition and modern. From the point of view of historical anthropology, this paper applies the methods of combining history, folklore, anthropology, and so on, based on the data obtained from field investigations, supplemented by literature. This paper analyzes and studies the learning experience, acting life, daily life and social status of this group, and tries to outline the life track of this group in the course of historical change. So that people can have a comprehensive, in-depth understanding of them.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J827

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 劉曉林;遼南皮影戲調(diào)查與研究[D];山西師范大學(xué);2012年

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本文編號(hào)：1903421