【摘要】：贛南采茶戲最早起源于明代萬(wàn)歷年間,形成于明末清初,而成熟于康乾盛世。作為南方最具代表性的地方戲曲之一,贛南采茶戲在歷史上呈現(xiàn)出了非常頑強(qiáng)的生命力和極大的繁榮景象,而贛南采茶戲丑角表演技巧的成熟與完善卻為贛南采茶走向繁榮局面打下了堅(jiān)實(shí)、可靠的根基,同時(shí)為后人研究贛南采茶戲的發(fā)展與動(dòng)作表演提供了有理可循的依據(jù)。 贛南采茶戲是贛南客家文化中的精華和瑰寶,這一點(diǎn)得到海內(nèi)外專家的一致認(rèn)可和肯定,但是作為研究舞蹈文化的我們,如果單單從客家文化去研究和理解贛南采茶舞蹈的動(dòng)作表演,我們會(huì)碰到很多疑問和難題。如客家人的民間藝術(shù)會(huì)為什么尊崇畬族人(雷光華)作為本民族藝術(shù)的開山鼻祖；為什么民間采茶藝人都不吃狗肉；為什么丑角表演中有如此之多的動(dòng)物形態(tài)模擬；中原漢人是看不起狗的,但是到了贛南采茶戲當(dāng)中為什么狗又成了圖騰崇拜的地位等等；這就是本篇文章所要回答的問題。 本文選擇了對(duì)贛南地區(qū)經(jīng)濟(jì)發(fā)展、歷史演變都起著至關(guān)重要作用的兩大族群——畬族與客家的融合為前提,即從客、畬混化的角度,運(yùn)用田野調(diào)查、文獻(xiàn)學(xué)、民族志、舞蹈學(xué)、文化人類學(xué)等多種研究方法,考察在客、畬血統(tǒng)和文化上互相交融的背景下產(chǎn)生的客家民間藝術(shù)——贛南采茶舞蹈的形態(tài)特征及文化內(nèi)涵。即從宏觀的文化視野,去窺探蘊(yùn)含在贛南采茶舞蹈身上的兩種(客、畬)文化因子。
[Abstract]:Gannan tea-picking drama originated from Wanli period of Ming Dynasty, formed in the late Ming Dynasty and early Qing Dynasty, and matured in Kangqian prosperous period. As one of the most representative local operas in the south, Gannan tea-picking drama has shown a very strong vitality and great prosperity in history. However, the maturity and perfection of the performance skills of the clown in Gannan tea picking drama have laid a solid and reliable foundation for the development of tea picking in Gannan and provided a reasonable basis for future generations to study the development and action performance of the tea-picking drama in Gannan. Tea picking in Gannan is the essence and treasure of Hakka culture in Gannan, which has been unanimously recognized and affirmed by experts at home and abroad. But as we study dance culture, If we study and understand the action performance of Gannan tea picking dance from Hakka culture alone, we will encounter a lot of questions and problems. For example, why do Hakka folk art associations respect the she nationality (Lei Guanghua) as the originator of their own national art, why folk tea pickers do not eat dog meat, why there are so many animal models in the clown show; The Han people in the Central Plains despise dogs, but why dogs have become the status of totem worship in tea picking in Gannan, and so on; this is the question to be answered in this article. This paper chooses the integration of the she nationality and the Hakka nationality, which plays an important role in the economic development and historical evolution of the south of Jiangxi, as the premise, that is, from the angle of the mixing of Hakka and she, using field investigation, philology, ethnography, dance science. Cultural anthropology and other research methods are used to investigate the morphological characteristics and cultural connotations of Hakka folk art, tea picking dance in Gannan, which is produced under the background of the blending of Hakka, she lineage and culture. That is, from the macro cultural perspective, to explore the Gannan tea dance contained in the two (guest, she) cultural factors.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J825

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