【摘要】：浦江亂彈,婺劇六大聲腔之一,因源于浦江故得其名,是在浙中地區(qū)流傳了300余年的戲曲劇種,曾經班社林立,異常興盛,深為大家熟知和喜愛。然而如今的浦江亂彈卻陷入了生存和危機之中：表演團體萎縮,原有風貌喪失；浙江婺劇團、衢州婺劇團雖把浦江亂彈作為主要聲腔,但表演風格和藝術特色也發(fā)生了很大變化,早已不是原汁原味；在浦江也只能在個別社區(qū)和少數鄉(xiāng)村里才能看到亂彈的表演,并且亂彈音樂的某些優(yōu)秀傳統(tǒng)也在逐漸的遺失。 浦江亂彈什錦班發(fā)軔于宋朝,靖康之難后,宋廷南遷,定都臨安,瓦子開始流行,北方的說唱藝術也在南方風靡起來,于是浦江就出現了講唱表演藝術團體——什錦班。自南宋末年至明朝中葉的數百年間,浦江一直以講唱藝術“什錦班”的形式流行于世,經久不衰。到了明朝中葉,浦江亂彈始由坐唱搬上舞臺,在1966年的一百多年間,全縣創(chuàng)建的什錦班多達一千多個,足見其強大的生命力。如今在隨著專業(yè)劇團和農村劇團的紛紛解散,什錦班無疑又擔當起傳播和保護浦江亂彈的重要使命。不過,社會政治、經濟和文化的變遷對浦江亂彈什錦班產生了不同程度的影響,從班社的生存空間到組織模式,從演員的身份、地位到演員的觀念、行為,以及亂彈音樂的傳承都發(fā)生了較大變化,但我們也看到因傳統(tǒng)力量影響而相對穩(wěn)定的因素。 本文立足于音樂人類學的研究視角,以蒂莫西·賴斯(Timthy Rice)的“歷史構成—社會維持—個體的創(chuàng)造和體驗”模式為主要理論依據,探討浦江亂彈什錦班及與之相關的歷史、社會、演員和音樂等因素的關系,對其進行初步的描述和人類學闡釋。
[Abstract]:One of the six major vocals of Pujiang River, Wuju Opera, which has been circulating in the middle of Zhejiang for more than 300 years, has been widely known and loved by all. However, today's Pujiang slug is caught in survival and crisis: the performing group shrinks and the original style is lost; although the Zhejiang Wuju Opera troupe and the Quzhou Opera Troupe regard the Pujiang slug as their main voice, However, the performance style and artistic characteristics have also changed a lot, not original; in Pujiang can only be seen in individual communities and a few villages, and some of the good tradition of playing music is gradually lost. Pujiang Shinjian classes began in the Song Dynasty. After Jingkang's difficulties, the Song Dynasty moved southward, and the capital, Lin'an, became popular. The northern rap art was also popular in the south. So Pujiang River appeared a group of singing and speaking performing arts groups-assorted classes. From the end of the Southern Song Dynasty to the middle of the Ming Dynasty, Pujiang has long been popular in the form of "assorted classes". By the middle of the Ming Dynasty, Pujiang was moved to the stage by singing and sitting. In 1966, more than a thousand classes were created in the county, showing its strong vitality. Now, with the disbanding of professional and rural troupes, it is undoubtedly an important mission to spread and protect the Pujiang River. However, the social, political, economic and cultural changes have had a varying degree of influence on the Pujiang River, from its living space to its organizational model, from the identity and status of the actors to the concepts and behaviors of the actors. The inheritance of tumble music has changed greatly, but we also see the factors that are relatively stable because of the influence of traditional forces. Based on the perspective of musical anthropology and the model of "historical constitution-social maintenance-individual creation and experience" by Timothy Rice (Timthy Rice), this paper discusses the history and society of Pujiang River. The relationship between actors and music, such as the preliminary description and anthropological interpretation.
【學位授予單位】：浙江師范大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J825

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