【摘要】：唐宋滑稽戲是中國(guó)傳統(tǒng)戲劇發(fā)展中承上啟下的關(guān)鍵節(jié)點(diǎn),亦是一種獨(dú)具特色的戲劇形式。本文以唐宋時(shí)期的滑稽戲?yàn)橹饕芯繉?duì)象,系統(tǒng)闡述了滑稽戲的形成以及唐宋滑稽戲的主要形式,對(duì)梵語笑劇與唐宋滑稽戲進(jìn)行比較研究,并考察了唐宋滑稽戲的興起對(duì)戲劇觀念的形成所產(chǎn)生的影響。唐宋滑稽戲在繼承先秦俳優(yōu)傳統(tǒng)的基礎(chǔ)上,受到域外表演藝術(shù)的深刻影響,是華夏文明自身所孕育以及印度、西域輸入的文化藝術(shù)共同作用下的產(chǎn)物�；鼞蛟谔扑螘r(shí)期發(fā)展為主流表演藝術(shù),已具備角色扮演和表演故事的戲劇本體,亦融合說白和歌舞,體現(xiàn)出綜合性的表演特征,它未能成長(zhǎng)為戲劇文學(xué),但始終是一種扎扎實(shí)實(shí)的戲劇實(shí)踐活動(dòng),在技藝與觀念層面為南戲和北雜劇的興起奠定了基礎(chǔ)。論文第一章著重論述影響滑稽戲形成的三個(gè)因素。古優(yōu)詼諧的語言和滑稽的形體動(dòng)作,以及綜合說、樂、歌、舞的表演傳統(tǒng)為唐宋滑稽戲所繼承,而先秦形成的優(yōu)諫亦成為滑稽戲所秉承的核心價(jià)值和精神。佛教入華開啟了民間俗文化的繁榮,成為戲劇形成的契機(jī)。隨佛教進(jìn)入中國(guó)的供養(yǎng)音樂、胡戲和域外俳優(yōu)為中國(guó)傳統(tǒng)的滑稽表演注入新的形式和內(nèi)容,推動(dòng)了戲劇表演的形成。唐宋滑稽戲在發(fā)展的過程中形成了密切的傳承關(guān)系,因此第二章沒有以朝代劃分,而是選擇踏謠娘、參軍戲、傀儡戲和宋金雜劇等四種最具代表性的滑稽戲形式分別進(jìn)行考述,逐一勾勒出完整輪廓,以此構(gòu)建唐宋滑稽戲的大體樣貌和演化過程。唐宋時(shí)期的滑稽戲是恣肆的、自由的、充滿創(chuàng)造力,它兼具思想性和娛樂性,將表演藝術(shù)推向了嶄新的高度。在縱向的時(shí)空中考察唐宋滑稽戲發(fā)展的同時(shí),與鄰國(guó)戲劇實(shí)踐的橫向比較拓寬了研究視野。第三章考察笑劇與唐宋滑稽戲在諷刺對(duì)象、表演套路和戲劇形態(tài)上的異同。在東方戲劇的框架之下,對(duì)唐宋滑稽戲表演形式、形成和演進(jìn)過程形成更完整清晰的認(rèn)識(shí)。同時(shí)通過比較研究,探討了二者之間可能存在的聯(lián)系。戲劇實(shí)踐與戲劇觀念處于一種伴生的狀態(tài),相互作用,相輔相成。中國(guó)傳統(tǒng)戲劇的興起與發(fā)展,伴隨著觀念的演進(jìn)。隨著戲劇實(shí)踐的深化,戲劇觀念漸趨清晰;戲劇觀念的確立又成為實(shí)踐壯大的思想基礎(chǔ)。基于上述認(rèn)識(shí),第四章論述了唐宋滑稽戲與戲劇觀念形成之間的互動(dòng)關(guān)系。由前戲劇觀念時(shí)期的摹仿和角色扮演,到唐宋滑稽戲表演故事的普遍化,梳理中國(guó)古代戲劇觀念的形成和變遷,分析滑稽戲?qū)騽∮^念形成的重要作用�；硌莸交鼞虻男纬纱┢鹆酥袊�(guó)戲劇早期發(fā)展的一條主線,而唐宋時(shí)期滑稽戲的繁榮則直接孕育了南戲、北雜劇等成熟的戲劇形式。變化是永恒不變的真理。在戲劇實(shí)踐中,表演內(nèi)容和形式在演進(jìn),戲劇觀念也漸趨深化。本文在考察唐宋滑稽戲不斷變化的戲劇實(shí)踐的同時(shí),將其與同時(shí)代鄰國(guó)的戲劇形式相比較,全面勾勒出中國(guó)戲劇發(fā)展的一條重要線索。這一研究課題為呈現(xiàn)更全面復(fù)雜的中國(guó)戲劇史提供了一個(gè)可供深入探索的視角,使戲劇史研究更加多元化、立體化。
[Abstract]:Tang-Song comedy is the key link between the preceding and the following in the development of traditional Chinese drama, and it is also a unique form of drama. This paper takes the comedy of Tang-Song period as the main object of study, systematically expounds the formation of comedy and the main forms of Tang-Song comedy, and makes a comparative study of Sanskrit comedy and Tang-Song comedy. On the basis of inheriting the tradition of pre-Qin Haiyou, Tang-Song comedy was deeply influenced by extraterritorial performing arts. It was the product of the Chinese civilization itself and the culture and art imported from India and the Western Regions. Performing art, which has the drama noumenon of role-playing and story-telling, also integrates vernacular and singing and dancing, reflects the comprehensive performance characteristics. It has not grown into drama literature, but has always been a solid drama practice, laying the foundation for the rise of Southern and Northern Dramas in terms of skills and concepts. This paper discusses three factors influencing the formation of comic operas. The ancient comic language and comic body movements, as well as the performance traditions of music, song and dance, are inherited by the comic operas of Tang and Song Dynasties. The exhortation formed in the pre-Qin Dynasty has become the core value and spirit of comic operas. As Buddhism entered China to support music, Hu opera and foreign comedians injected new forms and contents into traditional Chinese comic performances, and promoted the formation of theatrical performances. Four most representative forms of comedy, such as drama and Zaju of the Song and Jin Dynasties, were studied and outlined one by one in order to construct the general appearance and evolution process of the comedy of the Tang and Song Dynasties. The third chapter examines the similarities and differences between the comedy and the comedy of Tang and Song Dynasties in the object of satire, performing routines and theatrical forms. At the same time, through the comparative study, this paper probes into the possible relationship between the two. Drama practice and drama concept are in a concomitant state, interacting and complementing each other. Based on the above understanding, the fourth chapter discusses the interactive relationship between Tang-Song comedy and the formation of theatrical concepts. From the imitation and role-playing in the pre-theatrical concept period to the popularization of the performance stories of Tang-Song comedy, it combs the formation and change of ancient Chinese theatrical concepts and analyzes the slippery. Funny performance to the formation of funny play played a main role in the early development of Chinese drama, while the prosperity of the Tang and Song Dynasty funny play directly gave birth to mature drama forms such as Southern Opera and Northern Zaju. The concept of drama is also deepening. While examining the changing dramatic practices of the Tang and Song Dynasties, this paper compares them with the dramatic forms of neighboring countries at the same time and outlines an important clue to the development of Chinese drama. This research topic provides a perspective for further exploration in presenting a more comprehensive and complex history of Chinese drama. The angle makes the study of drama history more diversified and stereoscopic.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：J827

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