【摘要】：中國古典戲曲是民族文化瑰寶,具備文學(xué)和藝術(shù)的雙重特質(zhì),具有鮮明的民族特色。本文以古典戲曲舞臺插演藝術(shù)為主要研究對象,通過幾個方面進行相關(guān)研究。第一章主要是概述學(xué)術(shù)界有關(guān)插演的研究現(xiàn)狀以及介紹了本文的研究方法和思路。第二章對元雜劇的插演形式和內(nèi)容進行了梳理,從“科諢型上場詩”、“穿插型諢述”、“游離式情節(jié)”以及“笑樂型小插曲”四個類型分析了插演的內(nèi)容和特點,本章研究目的在于使插演的面貌更清晰地呈現(xiàn)在人們面前。第三章交代元雜劇插演藝術(shù)的淵源,探討中國古典戲曲成熟之前的表演形式對其產(chǎn)生的影響。宋金雜劇是元雜劇插演藝術(shù)的直接來源。其中“拴搐艷段”院本、“打略拴搐”院本以及“諸雜大小院本”對元雜劇的插演藝術(shù)產(chǎn)生了重要的影響。第四章是對插演在戲曲作品中重要的功能和地位進行切實地分析,具體通過“調(diào)節(jié)劇場氣氛和戲劇節(jié)奏”、“填補舞臺時空間隙”、“曲家抒發(fā)情志的載體”三個方面來論述說明。最后的第五章論述元雜劇插演套式對明清戲曲插演藝術(shù)的影響。全文層層推進,從元雜劇插演的存在面貌到其藝術(shù)來源再到其功能作用最后到其對明清戲曲的插演藝術(shù)的影響,從插演藝術(shù)的本身出發(fā)研究插演,從科學(xué)態(tài)度出發(fā)考察插演。
[Abstract]:Chinese classical opera is a treasure of national culture, with the dual characteristics of literature and art, with distinct national characteristics. This article takes the classical opera stage insertion art as the main research object, through several aspects carries on the correlation research. The first chapter is an overview of the academic research on the status quo of interpolation, as well as the research methods and ideas of this paper. The second chapter combs the form and content of the Yuan Zaju, analyzes the content and characteristics of the interjection from four types, namely, the "Keke style", "the gimmick", "the free plot" and "the laughing music". The purpose of this chapter is to make the appearance of interjection appear more clearly in front of people. The third chapter explains the origin of the performance art of Yuan Zaju, and probes into the influence of the performance form before the Chinese classical opera matures on it. Song and Jin Dynasty Zaju is the direct source of Yuan Zaju's interjection art. Among them, "twitching Yan Duan" Yuan Ben, "playing a little twitching" Yuan Ben and "various sizes of the Yuan Dynasty" had an important impact on the art of the Yuan Zaju. The fourth chapter is a practical analysis of the important function and position of the interlude in the opera works, specifically through "regulating the atmosphere and rhythm of the theater", "filling the gap between stage time and space", "the carrier of expressing one's feelings" is discussed in three aspects. Finally, the fifth chapter discusses the influence of Yuan Zaju's repertoire on the Ming and Qing opera. From the existence of the Yuan Zaju to its artistic source and its function, the full text is pushed forward, from its influence on the performance of the Ming and Qing operas, from the study of the art itself, and from the scientific attitude to the interjection.
【學(xué)位授予單位】：廣州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J812

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本文編號：2233832