【摘要】：本文以新時期以來福建新編戲曲劇作為主要研究對象,通過“文人取向”與“民間立場”的雙重審視,對1978年以來的福建戲曲創(chuàng)作進(jìn)行整體把握與具體分析。在研究方法上,本文以文本細(xì)讀與田野調(diào)查為主要手段,參考當(dāng)下文學(xué)批評策略和文化研究理論,多角度探討新時期以來福建戲曲創(chuàng)作的經(jīng)驗與教訓(xùn)。在結(jié)構(gòu)上,本文根據(jù)近四十年來福建戲曲在劇本寫作與舞臺演出中的情況,圍繞“情愛模式”“歷史敘說”“游戲精神”“道德書寫”四個核心部分展開論述,嘗試改變“劇作家”與“劇作類型”的分類方式,以四個相對獨(dú)立但又具備內(nèi)在聯(lián)系的模塊架構(gòu)全文。在正文論述中,本文論述的對象不僅包括名家名作,還包括民間劇團(tuán)的保留劇目、未經(jīng)正式出版的油印劇本,以及尚未得到應(yīng)有關(guān)注的“被遺忘的劇本”等,在掌握大量資料、補(bǔ)充原有信息的基礎(chǔ)之上,較為全面地反映了新時期以來福建劇壇的創(chuàng)作實況。在第一章中,本文以福建地方戲中的傳統(tǒng)劇目作為參照,梳理出新時期以來福建劇作在情愛書寫上的多重變化�？傮w而言,1980年代以后,情愛元素大多成為劇作的點(diǎn)綴,情愛故事的風(fēng)格也從“才子佳人”式的青春靈動變?yōu)槌劣舯瘔?而進(jìn)入新世紀(jì)之后,地方戲曲的“藝術(shù)彈性”又促使“純愛故事”回歸,情愛書寫的審美風(fēng)格趨于多元。本文的第二章主要討論福建戲曲劇作在敘說歷史上的三條路徑,同是以“歷史”作為創(chuàng)作素材的來源,但劇作家們卻采取了不同的敘說方式,在“藝術(shù)真實”的大前提下,或是追求“歷史真實”,或是追求“情感真實”,或是在“歷史的縫隙中”進(jìn)行“戲說虛構(gòu)”,不僅在文本創(chuàng)作上取得了成就,更在史劇觀念上有所突破。本文的第三章聚焦“游戲精神”,討論了科諢傳統(tǒng)、丑角形塑在福建戲曲劇作中的表現(xiàn),分析了劇作家如何對“縣衙故事”進(jìn)行戲劇化處理,最后強(qiáng)調(diào)了重視“游戲精神”的觀點(diǎn)。第四章則圍繞福建戲曲劇作的“道德內(nèi)容”進(jìn)行探究,不僅比較了兩代劇作家對于傳統(tǒng)道德的態(tài)度,還比較了“文人取向”與“民間立場”下道德準(zhǔn)則的差異。于描述現(xiàn)狀和勾勒特征之外,本文還特別針對現(xiàn)行戲曲評價標(biāo)準(zhǔn)展開討論,強(qiáng)調(diào)“戲劇為上演而設(shè)”的特殊性質(zhì),指出戲曲復(fù)興的路徑在于巧妙平衡“文人取向”與“民間立場”、“文人趣味”與“民間趣味”之間的關(guān)系。在這一思路之下,本文認(rèn)為劇作家應(yīng)當(dāng)為地方劇種的傳承做出更多的擔(dān)當(dāng),評論者則應(yīng)尊重舞臺規(guī)律,對創(chuàng)作實踐提供更多的指導(dǎo)與觀照。結(jié)論部分,本文更針對福建劇壇的創(chuàng)作瓶頸提出了對策與建議,希望能由“局部”而至“整體”,由福建而及全國,對新編戲曲的創(chuàng)作與修編提供更多的經(jīng)驗和啟示。
[Abstract]:This article takes Fujian new opera since the new period as the main research object, through the "literati orientation" and "folk stand" double examination, to Fujian opera creation since 1978 to carry on the overall grasp and the concrete analysis. In terms of research methods, this paper takes the text reading and field investigation as the main means, referring to the current literary criticism strategy and cultural research theory, and probes into the experience and lessons of Fujian opera creation since the new period. In terms of structure, according to the situation of Fujian opera in script writing and stage performance in the past 40 years, this paper discusses the four core parts of "love mode", "historical narration", "game spirit" and "moral writing". This paper attempts to change the classification of "playwright" and "playwright type" by using four relatively independent but intrinsically related modules. In the main text, the objects of this article include not only the masterpieces, but also the reserved repertoire of folk theatrical troupes, unpublished mimeographs, and "forgotten plays", which have not yet received due attention. On the basis of supplementing the original information, it comprehensively reflects the creation of Fujian drama world since the new period. In the first chapter, taking the traditional plays in Fujian local opera as reference, the author sorts out the changes of love writing in Fujian opera since the new period. In general, since the 1980s, the elements of love have mostly become the embellishment of the plays, and the style of the love story has changed from the "talented and beautiful" style of youth to the melancholy and melancholy; and after entering the new century, The artistic elasticity of local opera promotes the return of pure love story, and the aesthetic style of love writing tends to be diversified. The second chapter mainly discusses the three paths of Fujian opera dramas in narrative history, both of which are "history" as the source of creative material, but the playwrights have adopted different narrative methods under the premise of "artistic truth". Either the pursuit of "historical reality", or the pursuit of "emotional reality", or "fiction in the gap of history", not only in the creation of the text, but also in the concept of historical drama has made a breakthrough. The third chapter focuses on the game spirit, discusses the performance of Kegao tradition and clown in Fujian opera, and analyzes how the playwright dramatizes the story of the county government. In the end, the author emphasizes the idea of attaching importance to the spirit of game. The fourth chapter focuses on the "moral content" of Fujian opera dramas, not only compares the traditional moral attitudes of the two generations of playwrights, but also compares the differences of moral norms under "literati orientation" and "folk stand". In addition to describing the present situation and outlining the characteristics, this paper also discusses the evaluation criteria of the current opera, and emphasizes the special nature of "drama for performance". It is pointed out that the path of revival lies in the balance between "literati orientation" and "folk standpoint", and the relationship between "literati taste" and "folk interest". Under this thought, the author thinks that playwrights should be more responsible for the inheritance of local plays, while critics should respect the law of stage and provide more guidance and reflection to the practice of creation. In the conclusion part, the author puts forward some countermeasures and suggestions in view of the bottleneck of Fujian opera creation, hoping to provide more experience and inspiration for the creation and revision of the new opera from "part" to "whole" and from Fujian to the whole country.
【學(xué)位授予單位】：上海戲劇學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J809.2
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本文編號：2279317