【摘要】：二人轉(zhuǎn),是在廣泛的吸收各個其他藝術(shù)精髓的基礎(chǔ)上,形成的一種集歌舞、說唱、戲曲等多種表現(xiàn)形式的一種民間藝術(shù)。它遍及于中國東北的遼寧、吉林、黑龍江三省及內(nèi)蒙古自治區(qū)東部地區(qū),是一種有說有唱、載歌載舞、生動活潑的走唱類曲藝形式。在歷史的不斷發(fā)展中,二人轉(zhuǎn)逐漸形成了自己的獨特風(fēng)格,并積累了大量的曲牌和經(jīng)典的劇目。發(fā)展至今,二人轉(zhuǎn)也并沒有故步自封,反而一直在順應(yīng)著時代發(fā)展的大潮流,不斷的更新與完善著自己。如今的二人轉(zhuǎn),已經(jīng)不僅僅只流行于傳統(tǒng)二人轉(zhuǎn)的舞臺上,更將其獨特的音樂文化滲透到電視文化的藝術(shù)當(dāng)中。本文詳細(xì)揭示了二人轉(zhuǎn)藝術(shù)的歷史淵源和發(fā)展過程,以大眾文化藝術(shù)里電視文化中的二人轉(zhuǎn)表演元素為主要研究對象,深度分析二人轉(zhuǎn)在電視文化中的發(fā)展,并結(jié)合文獻(xiàn)參考資料以及其中具有代表性的作品的個案分析,立足于音樂學(xué)和文化學(xué)的視角,把二人轉(zhuǎn)表演元素還原到實際的社會人文生活環(huán)境當(dāng)中,以此來闡述二人轉(zhuǎn)在大眾藝術(shù)中的發(fā)展及當(dāng)下的二人轉(zhuǎn)出現(xiàn)的一些問題,并對其以后的發(fā)展進(jìn)行展望。全文由緒論、本論、結(jié)論三大模塊組成。在緒論當(dāng)中,主要介紹了研究背景與研究問題、發(fā)展至今的研究現(xiàn)狀和運用的主要研究方法,交代了論文中的主要研究對象的相關(guān)問題。在本論中,又分為三部分:第一部分主要闡述了二人轉(zhuǎn)元素在大眾藝術(shù)中的具體體現(xiàn);第二部分是對大眾藝術(shù)中二人轉(zhuǎn)表演元素的現(xiàn)象進(jìn)行分析;第三部分是對二人轉(zhuǎn)將來的發(fā)展給予了展望。在結(jié)論中,由當(dāng)代電視文化中融合二人轉(zhuǎn)表演元素的現(xiàn)象,披露了二人轉(zhuǎn)的低俗問題,并對以后二人轉(zhuǎn)的發(fā)展提出了個人的思考和建議。
[Abstract]:Erren Zhuan, on the basis of extensive absorption of the essence of various other arts, formed a folk art of various forms such as song and dance, rap, opera and so on. It is widely used in Liaoning, Jilin, Heilongjiang and the eastern region of Inner Mongolia Autonomous region in northeast China. It is a kind of singing and singing, singing and dancing, lively singing-like music art form. In the continuous development of history, Erren gradually formed his own unique style, and accumulated a large number of music cards and classical repertoire. So far, the two people have not been self-proclaimed, but have been in line with the trend of the development of the times, constantly updating and perfecting themselves. Nowadays, Erren is not only popular on the stage of traditional twinning, but also permeates its unique music culture into the art of TV culture. This article reveals in detail the historical origin and development process of the art of "Erren Zhuan", with the main research object of the acting elements of "Erren Zhuan" in the mass culture and art, and deeply analyzes the development of the "Erren Zhuan" in the television culture. Combined with the literature and reference materials and the case analysis of the representative works, based on the perspective of musicology and culturology, this paper restores the elements of the performance of the two people to the actual social and humanistic life environment. This paper expounds the development of Erren Zhuan in the mass art and some problems in the present two-person turn, and looks forward to its future development. The full text is composed of three modules: introduction, theory and conclusion. In the introduction, it mainly introduces the research background and research problems, the current research situation and the application of the main research methods, and explains the related issues of the main research objects in the paper. In this theory, it is divided into three parts: the first part mainly expounds the concrete embodiment of the elements of the two-person transformation in popular art; the second part analyzes the phenomenon of the elements of the two-person-turn performance in the mass art; The third part is to give the prospect of the future development of the two people's turn. In the conclusion, the phenomenon of merging the elements of the two-person-turn performance in the contemporary television culture reveals the vulgar problem of the two-person-turn, and puts forward some personal thoughts and suggestions on the development of the two-person-turn in the future.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J825

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