【摘要】：中華戲曲作為世界三大古老戲劇唯一流傳至今且還在鄉(xiāng)村舞臺(tái)上演的藝術(shù)表演形式,可謂淵源流長(zhǎng)。山西作為戲曲的搖籃,從北宋孔三傳的諸宮調(diào)研究奠定了我國(guó)戲曲音樂形成之最后一塊基石,可證山西戲曲的重要地位。即使在諸多劇種瀕危的當(dāng)下,山西戲曲種類仍約占全國(guó)總數(shù)的五分之一。晉劇作為山西戲曲之典型代表,位于四大梆子之首,發(fā)端于明中葉,在晉商鼎力支持下健步發(fā)展,終得觀眾喜愛,盛行于山西晉中、晉北,陜西北部、內(nèi)蒙古南部的部分地區(qū)。2006年5月20日,經(jīng)由國(guó)務(wù)院批準(zhǔn),晉劇列入第一批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)名錄。晉劇的發(fā)展蛻變,形成了其獨(dú)特的藝術(shù)風(fēng)格,錘煉了諸多演唱流派,其中以“愛愛腔”為最。本文從優(yōu)秀晉劇表演藝術(shù)家、“晉劇皇后”王愛愛的藝術(shù)生涯切入,通過面對(duì)面采訪王愛愛本人,了解其從藝經(jīng)歷,形成王愛愛的口述史,并輔以相關(guān)文獻(xiàn)和戲劇專家郭士星、晉劇表演藝術(shù)家武凌云、孫麗芳等的佐證,以證明口述研究材料的真實(shí)有效性。之后,梳理“愛愛腔”形成發(fā)展過程,總結(jié)其藝術(shù)特征和傳承所面對(duì)的問題,并給出本文的思考,以讓更多人——尤其是年輕人了解晉劇、喜歡晉劇、愛上晉劇。全文共計(jì)六個(gè)部分:緒論闡述本文的寫作目的和意義、研究問題已取得的成果和尚未解決的問題、研究的方法和目標(biāo)以及本文的創(chuàng)新之處。第一章較為詳細(xì)地梳理了王愛愛近七十年的藝術(shù)生涯;第二章在實(shí)際采訪王愛愛本人、戲劇專家郭士星、優(yōu)秀晉劇藝術(shù)家武凌云、孫麗芳的基礎(chǔ)上整理歸納王愛愛“愛愛腔”流派的形成和發(fā)展;第三章分析“愛愛腔”流派的藝術(shù)特色,結(jié)合聲樂發(fā)聲機(jī)理,從音樂聲學(xué)的角度對(duì)“愛愛腔”的發(fā)聲特點(diǎn)進(jìn)行探究和闡釋;第四章從王愛愛“愛愛腔”的發(fā)展流行引發(fā)思索,結(jié)合現(xiàn)代晉劇《守護(hù)夕陽》及對(duì)國(guó)家一級(jí)編劇、導(dǎo)演王小東的采訪,對(duì)面對(duì)現(xiàn)代社會(huì),如何能夠?qū)x劇(傳統(tǒng)文化)在不失其傳統(tǒng)特色特點(diǎn)的前提之下更好的傳承、保護(hù)做出思考。結(jié)論部分對(duì)全文整體概述,站在我們每一個(gè)音樂學(xué)習(xí)者的角度,結(jié)合習(xí)總書記在文藝工作座談會(huì)上的講話,希望能夠?qū)χ腥A民族五千年的文化繁榮壯大貢獻(xiàn)一份力量。
[Abstract]:Chinese opera, as the only one of the three ancient dramas in the world, has a long history. Shanxi, as the cradle of opera, has established the last cornerstone of the formation of Chinese opera music from the study of the three legends of the Song Dynasty, which can prove the important position of Shanxi opera. Even at a time when many operas are endangered, Shanxi opera still accounts for about 1/5 of the country's total. Jin opera as a typical representative of Shanxi opera, located at the head of the four Bangzi, the beginning of Yu Ming, with the great support of Shanxi merchants to develop, finally won the audience love, prevailing in Shanxi Jinzhong, North Shanxi, northern Shaanxi, Part of southern Inner Mongolia. Approved by the State Council on May 20, 2006, Jin Opera was included in the first batch of national intangible cultural heritage lists. The development and transformation of Jin Opera formed its unique artistic style, and tempered a lot of singing schools, among which, Love cavity was the most important. This article begins with the artistic career of Wang Aiai, an outstanding performing artist of Jin Opera and "Queen of Jin Opera", through face-to-face interview with Wang Aiai himself, to understand his art experience, to form the oral history of Wang Aiai, and to be supplemented by relevant literature and drama expert Guo Shixing. Jin opera performance artists Wu Lingyun, Sun Lifang and others to prove the authenticity of oral research materials. Then, combing the formation and development process of "Love", summarizing its artistic characteristics and problems faced by inheritance, and giving some thoughts in this paper, in order to let more people, especially young people, understand Jin Opera, like Jin Opera, love Jin Opera. The thesis consists of six parts: the introduction expounds the purpose and significance of this paper, the achievements of the research and the unsolved problems, the methods and objectives of the research, and the innovations of this paper. The first chapter combs Wang Aiai's artistic career in more detail. The second chapter is based on the actual interview with Wang Aiai himself, drama expert Guo Shixing, outstanding Jin opera artists Wu Lingyun and Sun Lifang. The third chapter analyzes the artistic characteristics of the "Love cavity" school, combined with the vocal sound mechanism, from the perspective of musicology to explore and explain the vocal characteristics of "Love cavity"; In the fourth chapter, from the development and popularity of Wang Aiai's "Love and Love cavity", thinking about it, combining the modern Jin drama "guarding the sunset" and interviews with the national first-level screenwriter and director Wang Xiaodong, facing the modern society, How can Jin opera (traditional culture) be better inherited and protected without losing its traditional characteristics. In the conclusion part, from the point of view of each of our music learners and combining with the speech made by General Secretary Xi at the symposium on literature and art work, we hope to contribute a part to the cultural prosperity and growth of the Chinese nation for five thousand years.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J825

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