發(fā)布時間：2018-06-07 09:42

  本文選題：池州儺戲 + 文化傳承��； 參考：《安徽師范大學》2017年碩士論文

【摘要】：池州儺戲是國內迄今為止保存較古老完整的古代戲曲,無論在表演方式、演出劇目、唱法唱腔,還是在面具道具、服飾砌末等方面都有具體體現(xiàn),被學術界譽為中國“戲曲活化石”“古文化的層疊積淀”,其中蘊含了豐富的宗教學、民俗學、戲曲學、人類學、考古學等學科知識,也為當下考察遠古文明和時代思想提供了折射的活態(tài)樣本。同時,由于池州儺戲一方面內屬于中國儺文化,具有古樸、原始、鄉(xiāng)土等儺文化的普遍特征,另一方面還因其地域文化和歷史流變的注入,通過兼收并蓄而形成一種池州地區(qū)特有的儀式戲劇。因此,池州儺戲被國務院列入了“國家首批非物質文化遺產名錄”,備受社會各界的關心與矚目。隨著時代的變遷,池州儺戲從一種日常的生活事象逐漸抽離,成為一種傳統(tǒng)文化和歷史遺產,失去了其原生的生活關聯(lián)度和敬畏崇拜感。而儺戲本身的古老陳舊和“封建迷信”的標簽,原始社會圖騰崇拜的起源與現(xiàn)代科學技術的解釋相互對立,賴以生存的農耕文明被高度發(fā)達的工業(yè)文明侵蝕,宗族內部口傳心授的一脈傳承與融媒時代信息傳播的幾何式裂變格格不入,古樸單調的儺舞動作在光怪陸離的媒介奇觀下顯得尤為笨拙沉重。因此,面對池州儺戲的保護,存在著一定的爭議,也不可避免地出現(xiàn)傳播誤區(qū)。通過調查分析,池州儺戲與當代媒介文化存在著斷裂和連接,它投射出現(xiàn)代性的后果,也需要進行意義的重構;它超脫于信仰,也植根于傳統(tǒng);它反映著數(shù)字時代的鴻溝,也連接著過去、現(xiàn)在和未來。本課題從傳播學、文化人類學的視域出發(fā),還將進行長期深入的田野調查,進入池州儺戲的文化空間,接觸更多的現(xiàn)場影像,收集更多第一手的資料,為非物質文化遺產的研究提供一個具體研究實例,同時提出傳承建議督促池州儺戲的切實保護。針對池州儺戲的傳承路徑,還要從適度復魅、文化自覺、環(huán)境依托、傳媒視野等幾個角度出發(fā)來合理建構。
[Abstract]:Chizhou Nuo Opera is an ancient opera that has been preserved so far in our country. It is embodied in the performing way, the performing repertoire, the singing style, the mask props, the dress and so on. Known as the "living fossil of Chinese opera" and "the accumulation of ancient culture", which contains a wealth of religious, folklore, drama, anthropology, archaeology and other disciplines, It also provides a living sample of refraction for the study of ancient civilization and the thought of the times. At the same time, because Chizhou Nuo opera belongs to Chinese Nuo culture on the one hand, it has the common characteristics of ancient, primitive, native Nuo culture, on the other hand, it also because of the injection of regional culture and historical change. A ritual drama unique to Chizhou area was formed by the combination of eclectic and eclectic. Therefore, Chizhou Nuo Opera has been listed by the State Council as the first batch of intangible cultural heritage list, which has attracted the attention of all walks of life. With the change of the times, Chizhou Nuo Opera gradually separated from a kind of daily life and became a kind of traditional culture and historical heritage, and lost its original life related degree and the sense of reverence and worship. However, the old and old Nuo opera itself and the label of "feudal superstition", the origin of totem worship in primitive society and the interpretation of modern science and technology are opposite each other, and the agricultural civilization which depends on survival is eroded by highly developed industrial civilization. The tradition of oral instruction within the clan is incompatible with the geometric fission of information transmission in the media era, and the simple and monotonous Nuo dance is particularly clumsy under the strange and strange media spectacle. Therefore, in the face of Chizhou Nuo opera protection, there are some disputes, but also inevitably spread misunderstanding. Through investigation and analysis, Chizhou Nuo Opera has been broken and connected with contemporary media culture. It reflects the consequences of modernity and needs to be reconstructed; it is detached from belief and rooted in tradition; it reflects the divide of the digital age. It also connects the past, the present and the future. From the perspective of communication and cultural anthropology, this topic will also carry out long-term and in-depth field investigations, enter the cultural space of Chizhou Nuo Opera, contact more scene images, and collect more first-hand information. It provides a concrete research example for the study of intangible cultural heritage, and puts forward some suggestions to supervise the protection of Chizhou Nuo Opera. In view of the inheritance path of Chizhou Nuo Opera, it is necessary to construct reasonably from several angles, such as moderate reenchantment, cultural consciousness, environmental support, media vision and so on.
【學位授予單位】：安徽師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J825;G206

【參考文獻】

相關期刊論文 前10條

1 趙巧艷;;侗族傳統(tǒng)民居“象征符號”研究之三 侗族傳統(tǒng)民居的指涉性象征符號闡釋[J];廣西民族師范學院學報;2015年05期

2 何根海;;村落鏡像與神圣砌末——安徽池州市貴池區(qū)梅街鎮(zhèn)姚街村蕩里姚宗族儺神會的文化生態(tài)考察[J];銅仁學院學報;2014年05期

3 金龍;;池州儺面具造型審美特征探析[J];重慶科技學院學報(社會科學版);2010年10期

4 何根海;張邦啟;;安徽省貴池縣茅坦鄉(xiāng)山湖村儺神會的田野調查報告[J];池州學院學報;2010年01期

5 呂光群;;將池州儺舞儺戲搬上舞臺的嘗試——小議繼承與保護[J];黃梅戲藝術;2009年02期

6 董曉萍;;民俗學與非物質文化遺產保護[J];文化遺產;2009年01期

7 汪勝水;石雁;;池州儺戲面具藝術的美學內涵解讀[J];沙洋師范高等�？茖W校學報;2006年06期

8 王義彬;;別無選擇的生存:泛宗教、邊緣化——池州儺戲的文化內涵[J];音樂藝術.上海音樂學院學報;2006年03期

9 張邦啟;;儺戲《和番記》及其文化功能[J];池州師專學報;2006年04期

10 王平;;明清兩代安徽貴池儺戲探微[J];戲曲研究;2005年01期

相關博士學位論文 前1條

1 王義彬;池州儺戲藝術及其文化研究[D];福建師范大學;2004年

相關碩士學位論文 前2條

1 檀雨桐;池州儺戲面具文化研究[D];安徽大學;2014年

2 金龍;貴池儺面具的數(shù)字化圖形設計研究[D];首都師范大學;2007年

，

本文編號：1990738