武術(shù)與安順地戲的相互影響與啟示
發(fā)布時間：2018-08-08 21:46
【摘要】：安順地戲是存在于貴州安順屯堡地區(qū)的一種民間戲曲,隨著屯堡人至今已經(jīng)有了幾百年的歷史。地戲的產(chǎn)生與發(fā)展都與武術(shù)有著重要的聯(lián)系,地戲表演過程中主要是以武打為主要內(nèi)容,與其他地區(qū)不同的是地戲只演武戲,而且武打貫穿于地戲表演過程的始終。當下,安順地戲現(xiàn)在被列入了非物質(zhì)文化遺產(chǎn)當中,對安順地戲研究也層出不窮,在這些所有研究中,武術(shù)都被肯定與地戲有著密切的關(guān)聯(lián)。 本研究通過文獻資料法、專家訪談法、田野調(diào)查法、比較研究方法以及邏輯分析法,以安順地戲的歷史沿革和特征,以對研究安順地戲的產(chǎn)生與發(fā)展、地戲中武術(shù)元素的分析、地戲與武術(shù)發(fā)生的歷史脈絡等方面,去探尋安順地戲與武術(shù)的發(fā)生和相互影響,并能夠給武術(shù)的傳承和文化保護以啟示。 本研究的主要結(jié)論如下： 1.屯堡人從歷史來源上與武術(shù)就存在著關(guān)系。屯堡人明代屯軍后裔,有著軍人血統(tǒng),尚武精神的思想意識濃重。練兵習武是為了滿足自身精神上的追求,也是自身身份的象征。不管是出于防御還是精神追求,屯堡人一直與武術(shù)發(fā)生著關(guān)系。 2.地戲中的武打直接取材于武術(shù)。武打是地戲的靈魂。地戲中的武打直接取自武術(shù),在最初時屯堡人直接原封不動把武術(shù)中一些架勢運用到地戲表演中去,到了后來才對一些武術(shù)招式進行了改造,形成了較為成熟的套路程式。 3.屯堡地區(qū)中的武術(shù)與地戲相互依存、相互影響。在特定的歷史條件下武術(shù)對地戲的產(chǎn)生起到了重要的作用,地戲的產(chǎn)生也促進了武術(shù)的發(fā)展。在不同的歷史時期兩者之間的關(guān)系在發(fā)生者變化,但是地戲離不開武術(shù),離開了武術(shù),就是去了靈魂。目前,屯堡地區(qū)中武術(shù)的發(fā)展也要依賴于地戲,才能生存和發(fā)展。兩者之間相互依存、相互發(fā)展。 4.“文化綜合創(chuàng)新論”是今后武術(shù)發(fā)展的一個方向。武術(shù)文化應該適應和融合到其他文化當中,與各種文化形成一個綜合的科學的系統(tǒng),既要繼承傳統(tǒng)又要自身的創(chuàng)新,才能適應現(xiàn)代社會發(fā)展得需求。
[Abstract]:Anshundi Opera is a kind of folk opera existing in Tunpu area of Anshun Guizhou. The emergence and development of local opera have important relations with martial arts. In the process of local opera performance, the main content is martial arts. What is different from other regions is that local opera only performs martial arts, and martial arts play runs through the whole process of local opera performance. At present, Anshundi Opera is now listed in the intangible cultural heritage, and the research on Anshundi Opera is endless. In all these studies, Wushu is definitely closely related to the local opera. Through the methods of literature, expert interview, field investigation, comparative research and logic analysis, this study aims at the historical evolution and characteristics of Anshundi Opera, in order to study the emergence and development of Anshundi Opera, and the analysis of martial arts elements in Anshundi Opera. This paper explores the occurrence and mutual influence of Anshundi Opera and Wushu, and can enlighten the inheritance and cultural protection of Wushu. The main conclusions of this study are as follows: 1. Tunbao people from the historical sources and martial arts on the relationship. Tunbao people in the Ming Dynasty Tujun descendants, with military lineage, martial spirit of the ideological consciousness. Martial arts training is to meet their own spiritual pursuit, but also a symbol of their identity. Whether out of defense or spiritual pursuit, Tunbao has always had a relationship with martial arts. 2. 2. The martial arts in the local opera are directly derived from the martial arts. Martial arts is the soul of the earth play. The martial arts in the local opera were taken directly from the martial arts. At first, the Tunbao people directly applied some of the martial arts posture to the local opera performances. Later, some martial arts methods were reformed. Formed a more mature routine. 3. The martial arts and local opera in Tunpu area depend on each other and influence each other. Under certain historical conditions, Wushu plays an important role in the production of local opera, and it also promotes the development of Wushu. In different historical periods, the relationship between the two changes, but the local drama can not be separated from martial arts, away from martial arts, is to go to the soul. At present, the development of martial arts in Tunpu area also depends on local drama to survive and develop. The two are interdependent and develop mutually. 4. The theory of comprehensive innovation of culture is a direction for the development of Wushu in the future. Wushu culture should be adapted and integrated into other cultures and form a comprehensive scientific system with various cultures. Wushu culture should inherit tradition and innovate itself in order to meet the needs of the development of modern society.
【學位授予單位】：北京體育大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J825;G852
本文編號：2173129
[Abstract]:Anshundi Opera is a kind of folk opera existing in Tunpu area of Anshun Guizhou. The emergence and development of local opera have important relations with martial arts. In the process of local opera performance, the main content is martial arts. What is different from other regions is that local opera only performs martial arts, and martial arts play runs through the whole process of local opera performance. At present, Anshundi Opera is now listed in the intangible cultural heritage, and the research on Anshundi Opera is endless. In all these studies, Wushu is definitely closely related to the local opera. Through the methods of literature, expert interview, field investigation, comparative research and logic analysis, this study aims at the historical evolution and characteristics of Anshundi Opera, in order to study the emergence and development of Anshundi Opera, and the analysis of martial arts elements in Anshundi Opera. This paper explores the occurrence and mutual influence of Anshundi Opera and Wushu, and can enlighten the inheritance and cultural protection of Wushu. The main conclusions of this study are as follows: 1. Tunbao people from the historical sources and martial arts on the relationship. Tunbao people in the Ming Dynasty Tujun descendants, with military lineage, martial spirit of the ideological consciousness. Martial arts training is to meet their own spiritual pursuit, but also a symbol of their identity. Whether out of defense or spiritual pursuit, Tunbao has always had a relationship with martial arts. 2. 2. The martial arts in the local opera are directly derived from the martial arts. Martial arts is the soul of the earth play. The martial arts in the local opera were taken directly from the martial arts. At first, the Tunbao people directly applied some of the martial arts posture to the local opera performances. Later, some martial arts methods were reformed. Formed a more mature routine. 3. The martial arts and local opera in Tunpu area depend on each other and influence each other. Under certain historical conditions, Wushu plays an important role in the production of local opera, and it also promotes the development of Wushu. In different historical periods, the relationship between the two changes, but the local drama can not be separated from martial arts, away from martial arts, is to go to the soul. At present, the development of martial arts in Tunpu area also depends on local drama to survive and develop. The two are interdependent and develop mutually. 4. The theory of comprehensive innovation of culture is a direction for the development of Wushu in the future. Wushu culture should be adapted and integrated into other cultures and form a comprehensive scientific system with various cultures. Wushu culture should inherit tradition and innovate itself in order to meet the needs of the development of modern society.
【學位授予單位】：北京體育大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J825;G852
【參考文獻】
相關(guān)碩士學位論文 前1條
1 楊本升;關(guān)于中國武術(shù)與軍事、藝術(shù)關(guān)系的研究[D];山東師范大學;2002年
，本文編號：2173129
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