【摘要】：孝義木偶戲因其流傳于山西孝義一帶而得名,境內主要的木偶戲形式是杖頭木偶戲。其特點是真人在下木偶在上演出,用中心木杖(又稱作命桿或手槍棒)支撐木偶身體的重量,用兩個側面的手簽支配木偶雙手的運動,使得木偶做出類似真人的動作,并配以真人演唱來表演戲劇。孝義木偶戲并非本土所有,大約在宋代末年金代初年由當時的都城汴京北上傳入境內。孝義木偶戲之所以能很快融入當地的文化傳統(tǒng),是因為孝義歷來有演戲的習俗,除晉劇外,皮腔紙窗皮影戲是境內土生土長的戲劇形態(tài)。每逢歲時節(jié)日、人生儀禮舉辦之時,民間便有演戲祝愿的習俗。木偶戲在傳入孝義之后,便和當地的皮影戲班社搭伙演出,這是民眾用其有限的社會經驗進行“理智”地資源配置的結果。木偶戲在長期的歷史發(fā)展過程中逐漸成為孝義民眾日常生活的一部分,看似純物質的木偶制作技藝背后滲透著民眾智慧的結晶。傳統(tǒng)社會里,孝義木偶戲不僅是純藝術的戲劇表演,它還是“儀式活動”的一部分,作為儀式戲劇,孝義木偶戲是美化民眾生活、定義族群邊界、強化社會秩序、傳承民族記憶的文化展演。時代的發(fā)展帶來了現代性,現代性在顛覆傳統(tǒng)民間社會的同時,抽離了孝義木偶戲的儀式內涵,讓孝義木偶戲只剩下外顯的“木偶符號”。非物質文化遺產保護工程讓“權力話語”介入孝義木偶戲的發(fā)展,圍繞重構木偶戲“輝煌前景”的各利益團體也相繼建立。因此,孝義木偶戲被作為“文化產品”且迎合大眾的審美需求被建構,在這個過程中審美化的“木偶符號”被強化。 本文緒論部分從三方面進行闡述。主要對論文的選題意義目的,研究現狀與理論創(chuàng)新,所用研究方法以及論文寫作過程中的不足之處加以說明。 第一章為山西孝義木偶戲概說。首先溯源木偶戲,從上古時代的偶像崇拜說起,到后來集“喪葬—娛樂”色彩于一身的木偶,直至形態(tài)各異的木偶戲。之后介紹山西孝義杖頭木偶戲的起源與發(fā)展以及其生成的自然與社會文化環(huán)境。 第二章介紹構成孝義木偶戲的民俗資源,從靜態(tài)的民俗資源和動態(tài)的木偶戲兩個方面進行描述。最后從木偶戲劇目著手,解析孝義木偶戲獨特的民俗文化內涵。 第三章分析孝義木偶戲對民眾生活所發(fā)揮的作用。首先重構傳統(tǒng)社會里孝義木偶戲功能的“全景圖”,進而指出新時期其功能的變遷,解析孝義木偶戲在孝義民眾日常生活中地位變化的深層原因。 第四章剖析在現代性語境下,左右孝義木偶戲發(fā)展狀況的“利益機制”。并在“狂歡化”、“文化產品生產”、“日常生活審美化”理論的啟發(fā)下,指出現代性洗禮下木偶戲審美特質的重要性。 結語部分展望孝義木偶戲在現代社會的發(fā)展態(tài)勢。未來的孝義木偶戲會在城市與鄉(xiāng)村、傳統(tǒng)劇目與創(chuàng)新劇目、新型載體與傳統(tǒng)形式間出現分野。但孝義木偶戲的發(fā)展軌跡既不是形式上純審美化的,也不是內容上純消費性的,是兩者之間的完美制衡點。
[Abstract]:Xiaoyi puppet show is famous for its popularity in the area of Xiaoyi, Shanxi Province. The main form of puppet play in the territory is the stick puppet show. It is characterized by a real person performing in the lower puppet, supporting the weight of the body of the puppet with a central stick (also known as a life pole or pistol stick), and controlling the movement of the hands of the puppet with two side signatures. Xiaoyi puppet show is not owned by the local people. It was uploaded from the capital of Bianjing in the late Song Dynasty and early Jin Dynasty. The puppet show was introduced into Xiaoyi and performed in partnership with the local shadow play troupes. This is the result of the rational allocation of resources by the people with their limited social experience. In traditional society, Xiaoyi puppet show is not only a pure art drama performance, but also a part of "ritual activities". As a ritual drama, Xiaoyi puppet show beautifies people's life. The development of the times has brought modernity. While subverting the traditional folk society, modernity has taken away the ritual connotation of Xiaoyi puppet show, leaving only the explicit "puppet symbols" in Xiaoyi puppet show. Therefore, Xiaoyi puppet show is constructed as a "cultural product" and caters to the aesthetic needs of the public. In this process, the aesthetic "puppet symbol" is strengthened.
The introduction part of this paper elaborates from three aspects, mainly explaining the significance of the topic, the research status and theoretical innovation, the research methods used and the inadequacies in the writing process.
The first chapter is a brief introduction of Shanxi Xiaoyi puppet opera.First, it traces back to the origin of puppet opera, from the idol worship in ancient times to the funeral-entertainment puppet opera, and then to the puppet opera of various forms.Then it introduces the origin and development of Shanxi Xiaoyi Zhuntou puppet opera and its natural and social and cultural environment.
The second chapter introduces the folk resources of Xiaoyi puppet opera, and describes them from two aspects: static folk resources and dynamic puppet opera.
The third chapter analyzes the role of Xiaoyi puppet show in people's life. Firstly, it reconstructs the "panorama" of the function of Xiaoyi puppet play in traditional society, then points out the changes of its function in the new period, and analyzes the deep reasons for the change of Xiaoyi puppet play's status in the daily life of Xiaoyi people.
The fourth chapter analyzes the "interest mechanism" that influences the development of Xiaoyi puppet show in the context of modernity, and points out the importance of the aesthetic characteristics of puppet show under the baptism of Modernity under the inspiration of the theories of "carnival", "cultural product production" and "daily life aestheticization".
The conclusion looks forward to the development of Xiaoyi puppet show in modern society. The future Xiaoyi puppet show will be divided between urban and rural, traditional and innovative repertoires, new carriers and traditional forms. But the development of Xiaoyi puppet show is neither purely aesthetic in form nor purely consumptive in content, but between the two. Perfect checks and balances.
【學位授予單位】：遼寧大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：J827

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