【摘要】：盡管華人移民至印度尼西亞已有數(shù)百年之久,然而1965年印度尼西亞政府新秩序政策(New Order Policy)卻制定了許多不利于華人文化發(fā)展的政策,導致印度尼西亞華人布袋戲的演出發(fā)生了內容與形態(tài)的改變。以布袋戲的演出為例,印度尼西亞華人為了維持與母國文化的聯(lián)系,一直在努力維護以往廟會的表演方式與布偶形態(tài),但在印度尼西亞政府的壓迫之下,華人為了維護傳統(tǒng)文化的生存,而不得不采用了許多不同于以往的做法。為了能深入了解華人布袋戲在印度尼西亞的發(fā)展,本文將以印度尼西亞華人布袋戲發(fā)展的歷史與社會環(huán)境、操偶師的養(yǎng)成、現(xiàn)今華人布袋戲演出形態(tài)、布袋戲后場音樂的類型與演變,四個方向為研究重心。
[Abstract]:Although it has been hundreds of years since the Chinese emigrated to Indonesia, in 1965 the Indonesian government's new order policy, (New Order Policy), formulated many policies that were not conducive to the development of Chinese culture. As a result, the performance of Indonesian Chinese puppetry has changed in content and form. Take theatrical performances as an example. In order to maintain cultural ties with their home countries, the Indonesian Chinese have been trying to preserve the performance methods and the puppet form of previous temple fairs, but under the pressure of the Indonesian government, In order to maintain the survival of traditional culture, Chinese have to adopt many different ways. In order to gain an in-depth understanding of the development of the Chinese puppetry in Indonesia, this paper will use the historical and social environment of the development of the Indonesian Chinese puppet play, the cultivation of the master, and the present performance pattern of the Chinese puppetry. The types and evolution of the music in the back stage of the puppet play are the focus of the research.
【作者單位】： 臺灣臺南藝術大學民族音樂學研究所;
【分類號】：J835;J617.5
，

本文編號：2294868