【摘要】：高碑店"上四調(diào)"屬于我國傳統(tǒng)社會曾經(jīng)活躍于鄉(xiāng)間的無數(shù)中小型劇種之一,其發(fā)展歷史及目前所面臨的衰微處境頗富代表性。就其產(chǎn)生的歷史背景和淵源而言,"上四調(diào)"屬于清中葉勃興的花部亂彈的余緒;應(yīng)鄉(xiāng)村祭神之需,其演出劇目主要以神怪戲為主;其傳播模式屬于一種特定歷史階段的草根戲劇的傳播,具有很強的流民乞丐等下層民眾追隨農(nóng)業(yè)繁盛區(qū)遷徙而傳播的性質(zhì)。
[Abstract]:Gaobeidian's "Shang4 tune" belongs to one of the innumerable medium and small-sized plays once active in the countryside in the traditional society of our country, its development history and the declining situation that it faces at present is quite representative. As far as its historical background and origin are concerned, the "four tunes" belongs to the wild thread of the flourishing flower parts in the middle of Qing Dynasty, and its repertoire is mainly composed of genie operas, according to the need of offering sacrifices to the gods in the countryside. Its communication mode belongs to a special historical stage of the spread of grassroots drama, with a strong vagabond beggars and other underclass people to follow the migration of agricultural prosperity and spread the nature of the region.
【作者單位】： 中國戲曲學院;
【分類號】：J825

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1 陳銘方;高碑店市撞河村“上四調(diào)”研究[D];河北大學;2016年

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本文編號：2283436