【摘要】： 潮劇在泰國的遭際為移民族群藝術(shù)的典型個(gè)案。泰國是東南亞建國最早且唯一沒有淪為殖民地的獨(dú)立國家。長期以來,移民泰國的華人族群與所在國社會(huì)保持著較高的融合度。作為綜合的舞臺(tái)藝術(shù)樣式,泰國潮劇不僅是華僑華人傳承中華民族及地域特色文化、呈現(xiàn)其內(nèi)在情感的最重要媒介,也是華人移民族群藝術(shù)與泰國社會(huì)文化相互交流的結(jié)晶。 本文在論證泰國潮劇為一特殊移民族群藝術(shù)的基礎(chǔ)上,研究其身份問題,從而探討潮劇如何從一種中國地方戲曲,逐漸演變?yōu)橐泼褡迦核囆g(shù),進(jìn)而提升為泰國國家藝術(shù)。除導(dǎo)言和結(jié)語之外,全文具體分以下五部分。 其一,通過泰國潮劇的現(xiàn)代化與本土化描述其發(fā)展歷程,展示其藝術(shù)本體價(jià)值;其二,在潮商推動(dòng)泰國潮劇傳播的過程中,中國一東南亞間的潮劇網(wǎng)絡(luò)逐漸形成,泰國潮劇由此成為一種典型的移民族群藝術(shù);其三,以酬神潮劇和泰語潮劇為研究對(duì)象,探討泰國潮劇的社會(huì)功能,折射出華族的身份意識(shí);其四,不同時(shí)期的中泰交往,可見泰國華僑華人的國家認(rèn)同,據(jù)此,闡析了潮劇在泰國政治生活中扮演的角色,說明泰國潮劇的政治身份在確定中遭遇危機(jī);其五,從文化心理的視角深入剖析潮人與泰人之間彼此的適應(yīng)和接受,進(jìn)一步論述泰國潮劇文化身份的建構(gòu)與焦慮。 本文首次全面、完整地厘清泰國潮劇發(fā)展的脈絡(luò),做出合理的分期,用戲曲事實(shí)探討潮汕移民與潮劇流播的關(guān)系,梳理潮劇網(wǎng)絡(luò)的形成,比較其在不同國家的呈現(xiàn),考究泰國潮劇與中國潮劇之間的淵源和互動(dòng),由此豐富了中國現(xiàn)當(dāng)代戲曲研究的內(nèi)涵,增進(jìn)中國戲曲與泰國本土戲劇及文化的交流。同時(shí),潮劇在泰國的傳播及其對(duì)泰國藝術(shù)的影響,反過來說明了東南亞對(duì)中國戲曲的接受,由此進(jìn)行了跨界亞洲的研究。 本文以泰國潮劇為個(gè)案,嘗試建構(gòu)移民族群藝術(shù)的研究模式。本文研究的方法和結(jié)論對(duì)中國戲曲、跨文化藝術(shù)、華僑華人問題、東南亞領(lǐng)域、世界移民族群乃至國際關(guān)系研究具有一定的借鑒價(jià)值。
[Abstract]:The experience of Chaozhou Opera in Thailand is a typical case of the art of immigrant ethnic groups. Thailand is the first and only independent country in Southeast Asia that has not been colonized. For a long time, the ethnic Chinese emigrated to Thailand have maintained a high degree of integration with the host society. As a comprehensive stage art style, Thai Chaoju Opera is not only the most important medium for overseas Chinese and Chinese to inherit the culture of Chinese nation and regional characteristics, but also the crystallization of the mutual exchange between the art of ethnic Chinese immigrants and Thai social culture. On the basis of proving that Thai Chaozhou Opera is an art of a special immigrant ethnic group, this paper studies its identity, and discusses how Chaozhou Opera evolved from a kind of Chinese local opera to the art of immigrant ethnic group gradually, and then to the national art of Thailand. In addition to the introduction and conclusion, the full text is divided into the following five parts. First of all, through the modernization and localization of Thai Chao Opera, it describes its development process to show its artistic Noumenon value; Second, in the process of promoting the spread of Thai tide drama, the network of Chinese-Southeast Asian tide drama gradually formed, thus becoming a typical immigrant ethnic group art; Thirdly, this paper discusses the social function of Thai Chaozhao dramas and reflects the identity consciousness of the Chinese ethnic groups by studying the Chaochao dramas and Thai Chaochao dramas in Thai language as the object of study. Fourthly, the communication between China and Thailand in different periods shows the national identity of overseas Chinese and Chinese in Thailand. According to this, the role of Chaozhou Opera in Thai political life is analyzed, which shows that the political identity of Thai Chaozhao Opera is in crisis in the determination of its political identity. Fifthly, from the perspective of cultural psychology, this paper deeply analyzes the adaptation and acceptance between the Chaoyan and Thai, and further discusses the construction and anxiety of the cultural identity of the Thai Chaozhao Opera. This paper, for the first time, comprehensively and completely clarifies the context of the development of Chaozhou Opera in Thailand, makes reasonable stages, probes into the relationship between Chaoshan immigrants and the spread of Chaoshan Opera, combs the formation of the network of Chaozhou Opera and compares its presentation in different countries with the facts of traditional Chinese operas. A thorough study of the origin and interaction between Thai and Chinese dramas enriches the connotation of the study of modern and contemporary Chinese opera and promotes the exchange between Chinese opera and Thai local drama and culture. At the same time, the spread of Chao opera in Thailand and its influence on Thai art, in turn, shows the acceptance of Chinese opera in Southeast Asia, thus conducting a cross-border study in Asia. This paper attempts to construct the research model of the art of immigrant ethnic groups with the example of Thai Chaozhou Opera. The methods and conclusions of this paper can be used for reference in the study of Chinese opera, cross-cultural arts, overseas Chinese and Chinese issues, Southeast Asia, the world immigrant communities and even international relations.
【學(xué)位授予單位】：廈門大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2009
【分類號(hào)】：J83

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 陳根方;中國工尺譜的數(shù)字實(shí)現(xiàn)研究[D];上海大學(xué);2011年

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本文編號(hào)：2447462