山東呂劇調(diào)查與研究
發(fā)布時間：2018-09-04 10:44
【摘要】：呂劇曾名“化妝揚(yáng)琴”、“琴戲”等,在山東臨邑、濟(jì)陽一帶也被稱為“迷戲”,在膠東則又叫“蹦蹦戲”,是山東省具有代表性的地方劇種,也是全國八大戲曲種類之一。 呂劇醞釀于民間說唱藝術(shù)“山東琴書”(坐腔揚(yáng)琴),同時又吸收融合了如“大鼓”、“弋陽腔”、“墜子”等其它民間戲曲、曲藝精華,借鑒化用了“五音戲”、“b}腔”、“柳腔”、“京劇”、“梆子腔”等劇種中適于自身的某些音樂腔調(diào)、表演等成份,不斷地豐富、發(fā)展、完善,而一躍成為山東省重要的代表性劇種。呂劇是黃河三角洲地區(qū)及至山東省文化發(fā)展的產(chǎn)物。它起源、興盛于素有呂劇“窩子”之稱的博興、廣饒一帶地區(qū),成長、成熟并定型于濟(jì)南等大城市,流傳于江蘇、新疆、黑龍江、遼寧等地。 呂劇以山東琴書主調(diào)【鳳陽歌】為曲調(diào)母體產(chǎn)生出基本腔調(diào)【四平腔】,使唱腔結(jié)構(gòu)由曲牌聯(lián)套體演變?yōu)榘迩惑w,又由【四平腔】衍生出【慢四平】、【快四平】、【四平散板】等多種板式;以山東琴書曲調(diào)【垛子板】發(fā)展出【二板】,又由【二板】進(jìn)而衍生出【慢二板】、【快二板】等豐富的戲曲音樂板式。呂劇唱腔以板腔體為主,兼唱曲牌。曲調(diào)簡單樸實(shí)、柔美動聽、靈活順口、易學(xué)易唱。在長期的演出實(shí)踐中,呂劇的唱腔、念白統(tǒng)一于以“濟(jì)南官話“為基礎(chǔ)。 呂劇富有濃郁的齊魯文化韻味,鄉(xiāng)村氣息濃重,許多優(yōu)秀劇目生動地反映出齊魯民俗風(fēng)情,內(nèi)容健康活潑,戲詞風(fēng)趣詼諧,具有較高的思想性和藝術(shù)性。 呂劇迄今發(fā)展有百年歷史,在二十世紀(jì)五、六十年代一度輝煌,文革時又遭受了巨大破壞。新時期,呂劇又得以恢復(fù)和發(fā)展。而電視、電影等新媒介的興起,使呂劇的發(fā)展受到了很大挑戰(zhàn),同時呂劇藝術(shù)自身包括音樂和題材內(nèi)容等方面也存在著諸多問題,亟待改革以順應(yīng)時代潮流。2008年,呂劇被收入第二批國家非物質(zhì)文化遺產(chǎn)名錄,其保護(hù)、傳承、發(fā)展問題越來受到人們的重視。 本文在對呂劇實(shí)地調(diào)查的基礎(chǔ)上,結(jié)合呂劇史料、戲曲史、戲曲美學(xué)、戲曲文化學(xué)、戲曲社會學(xué)等知識對呂劇源流、呂劇藝術(shù)表現(xiàn)形式、呂劇生態(tài)進(jìn)行全面、系統(tǒng)的透析。在此基礎(chǔ)上,聯(lián)系國家非物質(zhì)文化遺產(chǎn)保護(hù)工作的展開,來探討呂劇的發(fā)展對策,使其重新煥發(fā)光彩。 呂劇根植于齊魯文化的深厚土壤,是一筆無形的文化財(cái)富,對其進(jìn)行深入探討和研究,對傳承齊魯乃至中國的優(yōu)秀傳統(tǒng)文化具有重要的歷史和社會意義。 第一章,緒論部分,主要是對本文研究的原因和意義、當(dāng)前研究成果,以及本文的研究方法、創(chuàng)新之處作系統(tǒng)、詳細(xì)的介紹,突出本文研究的價值所在。 第二章,針對呂劇音樂腔調(diào)的原生態(tài)、形成時間、產(chǎn)生地、創(chuàng)始人以及定名等社會上莫衷一是的問題,在調(diào)查采訪的基礎(chǔ)上結(jié)合呂劇史料、戲曲知識對其進(jìn)行客觀、科學(xué)的探討和分析。 第三章對呂劇母體山東琴書的歷史源流作系統(tǒng)探析,探索出呂劇產(chǎn)生的內(nèi)在因素和外在動因。 第四章,對呂劇的藝術(shù)特色作系統(tǒng)、全面、深入地探討,對其各種表現(xiàn)形式包括音樂、劇本、行當(dāng)表演等,在前人研究成果的基礎(chǔ)上,進(jìn)行實(shí)地考察(包括對劇團(tuán)提供的各個時期的劇本、現(xiàn)場觀看并拍攝劇團(tuán)排練、演出等)和采訪,對各個藝術(shù)組成部分做深入的探討和研究。 第五章,通過查閱呂劇史料、市、縣志并結(jié)合對呂劇起源地的調(diào)查采訪所得來對呂劇的歷史興衰、流變作以客觀、詳細(xì)的歸納整理和研究。 第六章,對呂劇早期藝人班社、建國后各劇團(tuán)及各個時期的代表人物等在查閱史料和調(diào)查采訪的基礎(chǔ)上,作詳細(xì)、條分縷析的整理、介紹。 第七章,基于實(shí)地調(diào)查的成果對呂劇的生存狀態(tài)和存在的問題作以客觀分析。 第八章,結(jié)合非物質(zhì)文化遺產(chǎn)保護(hù)工作的展開,為呂劇的保護(hù)和傳承、創(chuàng)新與發(fā)展,提出切實(shí)可行的發(fā)展對策。 第九章,對本文研究做出總結(jié),試圖為以上對呂劇的探討得出一個合理的結(jié)論,指出實(shí)地調(diào)查采訪并結(jié)合戲曲理論知識對呂劇研究的價值和意義。
[Abstract]:Lu opera was once known as "make-up Yangqin" and "qin opera". In Linyi, Shandong Province, Jiyang is also known as "mystery opera" and in Jiaodong is also called "skipping opera". It is a representative local opera in Shandong Province and one of the eight major opera types in China.
Lu opera was brewed in the folk rap art "Shandong Qinshu" (sitting tune dulcimer), and at the same time absorbed and fused other folk operas such as "big drum", "Yiyang tune", "Zhuozi" and other folk operas, the essence of opera art, borrowed from the use of "five-tone opera", "b} tune", "Liu tune", "Peking opera", "Bangzi tune" and other operas suitable for their own tunes, such as some of the musical tunes, and so on. Luju Opera is the product of the cultural development of the Yellow River Delta and Shandong Province. It originated and flourished in Boxing, known as the "nest" of Luju Opera. Xinjiang, Heilongjiang, Liaoning and other places.
Luju Opera takes the main tune of Shandong Qinshu [Fengyang Song] as the matrix tune to produce the basic tune [Siping Tune], so that the structure of the singing tune evolves from the combination of music and cards to the panel tune, and from the [Siping Tune] [Slow Siping], [Quick Siping], [Siping Sanban], and other platforms; and from the tune of Shandong Qinshu [Pile Board], a variety of platforms have been developed. Luqu opera is characterized by its simple and simple tune, soft and pleasant, flexible and easy to learn and sing. In the long-term performance practice, the tune of Luqu opera is based on Jinan Mandarin.
Luju opera is full of rich Qilu culture charm, strong rural flavor, many excellent dramas vividly reflect Qilu folk customs, healthy and lively content, witty and humorous drama, with a high ideological and artistic.
Luju Opera has a history of one hundred years, once brilliant in the 1950s and 1960s, and suffered great damage during the Cultural Revolution. In the new period, Luju Opera was restored and developed. The rise of new media such as television and film has greatly challenged the development of Luju Opera. At the same time, the art of Luju Opera itself, including music and thematic content, also exists. In 2008, Lu Opera was included in the list of the second batch of national intangible cultural heritages. The protection, inheritance and development of Lu Opera have attracted more and more attention.
On the basis of the on-the-spot investigation of Lv Opera, this paper makes a comprehensive and systematic analysis of the origin, artistic forms and ecology of Lv Opera with the knowledge of Lv Opera history, drama history, drama aesthetics, drama culture and drama sociology. Develop strategies to revitalized them.
Luju opera is an intangible cultural treasure rooted in the deep soil of Qilu culture. It is of great historical and social significance for inheriting the excellent traditional culture of Qilu and even China to make a thorough study of it.
The first chapter, the introduction part, is mainly about the reasons and significance of this study, the current research results, as well as the research methods and innovations of this paper, to make a systematic and detailed introduction, highlighting the value of this study.
In the second chapter, aiming at the inconsistent problems in the society, such as the original state of tune, the time of formation, the place of origin, the founder and the designation of the tune, the author makes an objective and scientific discussion and Analysis on the basis of investigation and interview, and combines with the historical materials of Lu Opera.
In the third chapter, the author makes a systematic analysis of the historical origin of Shandong Qinshu, the mother body of Lu Opera, and explores the internal and external causes of the emergence of Lu Opera.
Chapter Four makes a systematic, comprehensive and in-depth study of the artistic features of Lv Opera. On the basis of previous research results, it makes a field investigation (including the scripts provided by the troupe at various stages, on-site watching and shooting troupe rehearsals, performances, etc.) and interviews with various art groups. Part of the research and discussion.
The fifth chapter, through consulting the historical materials of Luju Opera, city and county chronicles and combining with the investigation and interview of the origin of Luju Opera, summarizes and studies the rise and fall of Luju Opera objectively and in detail.
Chapter 6, on the basis of consulting historical materials and investigating and interviewing, makes a detailed and detailed arrangement and introduction of the early stage artists'clubs, troupes and representatives of various periods after the founding of the People's Republic of China.
The seventh chapter, based on the results of on-the-spot investigation, makes an objective analysis of Lu opera's living conditions and existing problems.
Chapter 8, combining with the protection of intangible cultural heritage, puts forward feasible development countermeasures for the protection, inheritance, innovation and development of Luju Opera.
Chapter Nine summarizes the study of this paper, trying to draw a reasonable conclusion for the above discussion of Luju, pointing out the value and significance of on-the-spot investigation and interview combined with the theoretical knowledge of opera to the study of Luju.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J825
本文編號：2221846
[Abstract]:Lu opera was once known as "make-up Yangqin" and "qin opera". In Linyi, Shandong Province, Jiyang is also known as "mystery opera" and in Jiaodong is also called "skipping opera". It is a representative local opera in Shandong Province and one of the eight major opera types in China.
Lu opera was brewed in the folk rap art "Shandong Qinshu" (sitting tune dulcimer), and at the same time absorbed and fused other folk operas such as "big drum", "Yiyang tune", "Zhuozi" and other folk operas, the essence of opera art, borrowed from the use of "five-tone opera", "b} tune", "Liu tune", "Peking opera", "Bangzi tune" and other operas suitable for their own tunes, such as some of the musical tunes, and so on. Luju Opera is the product of the cultural development of the Yellow River Delta and Shandong Province. It originated and flourished in Boxing, known as the "nest" of Luju Opera. Xinjiang, Heilongjiang, Liaoning and other places.
Luju Opera takes the main tune of Shandong Qinshu [Fengyang Song] as the matrix tune to produce the basic tune [Siping Tune], so that the structure of the singing tune evolves from the combination of music and cards to the panel tune, and from the [Siping Tune] [Slow Siping], [Quick Siping], [Siping Sanban], and other platforms; and from the tune of Shandong Qinshu [Pile Board], a variety of platforms have been developed. Luqu opera is characterized by its simple and simple tune, soft and pleasant, flexible and easy to learn and sing. In the long-term performance practice, the tune of Luqu opera is based on Jinan Mandarin.
Luju opera is full of rich Qilu culture charm, strong rural flavor, many excellent dramas vividly reflect Qilu folk customs, healthy and lively content, witty and humorous drama, with a high ideological and artistic.
Luju Opera has a history of one hundred years, once brilliant in the 1950s and 1960s, and suffered great damage during the Cultural Revolution. In the new period, Luju Opera was restored and developed. The rise of new media such as television and film has greatly challenged the development of Luju Opera. At the same time, the art of Luju Opera itself, including music and thematic content, also exists. In 2008, Lu Opera was included in the list of the second batch of national intangible cultural heritages. The protection, inheritance and development of Lu Opera have attracted more and more attention.
On the basis of the on-the-spot investigation of Lv Opera, this paper makes a comprehensive and systematic analysis of the origin, artistic forms and ecology of Lv Opera with the knowledge of Lv Opera history, drama history, drama aesthetics, drama culture and drama sociology. Develop strategies to revitalized them.
Luju opera is an intangible cultural treasure rooted in the deep soil of Qilu culture. It is of great historical and social significance for inheriting the excellent traditional culture of Qilu and even China to make a thorough study of it.
The first chapter, the introduction part, is mainly about the reasons and significance of this study, the current research results, as well as the research methods and innovations of this paper, to make a systematic and detailed introduction, highlighting the value of this study.
In the second chapter, aiming at the inconsistent problems in the society, such as the original state of tune, the time of formation, the place of origin, the founder and the designation of the tune, the author makes an objective and scientific discussion and Analysis on the basis of investigation and interview, and combines with the historical materials of Lu Opera.
In the third chapter, the author makes a systematic analysis of the historical origin of Shandong Qinshu, the mother body of Lu Opera, and explores the internal and external causes of the emergence of Lu Opera.
Chapter Four makes a systematic, comprehensive and in-depth study of the artistic features of Lv Opera. On the basis of previous research results, it makes a field investigation (including the scripts provided by the troupe at various stages, on-site watching and shooting troupe rehearsals, performances, etc.) and interviews with various art groups. Part of the research and discussion.
The fifth chapter, through consulting the historical materials of Luju Opera, city and county chronicles and combining with the investigation and interview of the origin of Luju Opera, summarizes and studies the rise and fall of Luju Opera objectively and in detail.
Chapter 6, on the basis of consulting historical materials and investigating and interviewing, makes a detailed and detailed arrangement and introduction of the early stage artists'clubs, troupes and representatives of various periods after the founding of the People's Republic of China.
The seventh chapter, based on the results of on-the-spot investigation, makes an objective analysis of Lu opera's living conditions and existing problems.
Chapter 8, combining with the protection of intangible cultural heritage, puts forward feasible development countermeasures for the protection, inheritance, innovation and development of Luju Opera.
Chapter Nine summarizes the study of this paper, trying to draw a reasonable conclusion for the above discussion of Luju, pointing out the value and significance of on-the-spot investigation and interview combined with the theoretical knowledge of opera to the study of Luju.
【學(xué)位授予單位】：山西師范大學(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1條
1 齊敏敏;;山東呂劇的調(diào)查研究[J];現(xiàn)代婦女(下旬);2013年07期
相關(guān)碩士學(xué)位論文 前2條
1 滕攀;湘西南路陽戲研究[D];陜西師范大學(xué);2011年
2 董剛德;南路山東琴書調(diào)查與研究[D];山西師范大學(xué);2012年
，本文編號：2221846
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