本文選題：五音戲 + 傳統(tǒng)社會(huì)��； 參考：《福建師范大學(xué)》2010年碩士論文

【摘要】：五音戲,原名“周姑子”,為流行于魯中地帶的民間小戲。身處北方地域、根于齊地文化區(qū)的五音戲,非但無北方剛勁之風(fēng)卻頗具南方風(fēng)味,腔韻酸甜柔美,有“北方越劇”之稱。 五音戲表演風(fēng)格偏陰柔,從曲種來源、戲劇劇本、戲臺呈現(xiàn)以及戲腔韻味等方面均折射出與五音戲當(dāng)?shù)嘏蕴刭|(zhì)之關(guān)聯(lián)。五音戲反映出傳統(tǒng)社會(huì)下的女性生活——人在戲中,通過戲劇表現(xiàn)出當(dāng)?shù)嘏栽谀袡?quán)壓抑下的性釋放、性抗拒與性憧憬。五音戲深受當(dāng)?shù)嘏詺g迎,從戲中戲語與戲迷戲語中可透析出女性觀眾對五音戲的欣賞、利用、互動(dòng)、回味逐漸滲透直至達(dá)到癡迷,可謂人戲一體,戲在人中。五音戲在演員性別轉(zhuǎn)變中經(jīng)過了純男性到混合性別再到純女性的過渡,演員性別的轉(zhuǎn)變體現(xiàn)出了五音戲的陰性回歸同時(shí)也透析出了引起性別變化的深層次的社會(huì)意識因素與經(jīng)濟(jì)因素,五音戲的陰性回歸實(shí)現(xiàn)了戲臺之上女性地位的轉(zhuǎn)變與提升,但同時(shí)亦有一定的局限性。本文試從以上方面探求五音戲中的女性情結(jié)。
[Abstract]:Wuyin Opera, formerly known as "Zhou Gu Zi", is popular in the middle of the region of folk drama. The five-tone opera, which is located in the northern region and is rooted in the cultural area of Qi Di, is not only having a southern flavor without the strong and vigorous wind of the north, but also having a sweet, sweet and soft accent, which is known as "Northern Yue Opera." the performance style of the five-tone opera is somewhat feminine, and from the source of the song, the drama plays are written. Both the stage presentation and the melodies reflect the relationship with the local female characteristics of the Wuyin Opera. Five-tone drama reflects the life of women in the traditional society-people show the sexual release, resistance and longing of the local women under the male oppression through the drama. Wuyin opera is popular with local women. It can analyze the appreciation, utilization, interaction and aftertaste of the five-tone opera by female audience from the drama and opera fans' drama, so it can be described as a whole of human drama, and the drama is in the people. The five-tone drama has gone through the transition from pure male to mixed sex to pure female in the transformation of actor's gender. The gender change of the actors reflects the negative regression of the five-tone drama and also analyzes the deep-seated social and economic factors that cause the gender change. The negative return of the five-tone drama realizes the transformation and promotion of the status of women on the stage. But at the same time there are some limitations. This article tries to explore the female complex in the five-tone drama from the above aspects.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J825

【引證文獻(xiàn)】

相關(guān)期刊論文 前2條

1 王艷麗;;五音戲城鄉(xiāng)劇團(tuán)調(diào)查初探[J];大眾文藝;2011年20期

2 王艷麗;;文化底蘊(yùn)與五音戲[J];劍南文學(xué)(經(jīng)典教苑);2013年01期

相關(guān)碩士學(xué)位論文 前2條

1 李藝;淄博市五音戲劇院演員及其演出活動(dòng)的調(diào)查與研究[D];青島大學(xué);2013年

2 王艷麗;五音戲在城鄉(xiāng)的生存現(xiàn)狀與創(chuàng)新變遷[D];青島大學(xué);2013年

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本文編號：2005988