【摘要】：戲劇禁毀是戲劇藝術(shù)的伴生現(xiàn)象。官方出于更為有效的管控與治理目的,往往對戲劇演出進行禁毀,尤其是對民間演劇,無論是演出時間、地點,還是演出形態(tài)、劇種,甚至是演出劇目,都要進行刪選與禁毀,由此形成民間演劇嚴苛的生存環(huán)境。然而,由于官方控制的松弛與民間戲班、藝人的抗爭立場及其所采取的積極應(yīng)對策略,從而使二者之間存在著一種"潛在性"調(diào)停,這對民間演劇順利度過禁毀"嚴冬"并獲得長足發(fā)展,具有至關(guān)重要的作用。
[Abstract]:The prohibition of drama is an accompanying phenomenon of dramatic art. For the purpose of more effective control and management, officials often ban and destroy theatrical performances, especially for folk performances, whether they are performed in time, place, form, variety, or even performance repertoire. From this, the formation of folk drama harsh living environment. However, due to the relaxation of official control and folk troupe, the artist's stand of resistance and the active coping strategy adopted, there is a kind of "potential" mediation between the two. This plays a vital role in the successful passage of the forbidden winter and the rapid development of folk dramas.
【作者單位】： 山西師范大學(xué)戲劇與影視學(xué)院;
【基金】：國家社會科學(xué)基金藝術(shù)學(xué)青年項目“中國戲曲文化中的‘禁忌’現(xiàn)象研究”(項目編號:11CB084) 山西省人文社科重點研究基地項目“山西方志戲曲文獻整理與研究”(項目編號:2012320)的階段性成果
【分類號】：J809.2
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本文編號：2347548