本文關(guān)鍵詞： 賢寓調(diào) 產(chǎn)生背景 藝術(shù)源流 音樂風(fēng)格 作用 保護(hù)　出處：《河北大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】：定興縣優(yōu)越的地理位置、自然環(huán)境、悠久的歷史、燦爛的文化成就了“會戲”賢寓調(diào)。之所以稱之為“會戲”,是因為這一小劇種生存于民間花會之中.,它是在當(dāng)?shù)孛窀韬捅陌鍛虻幕A(chǔ)上,立足于本地方言,大量吸收河北梆子、京劇等當(dāng)?shù)亓餍袆》N的營養(yǎng),逐步發(fā)展而成。以《回龍傳》、《玉環(huán)記》、《血淚仇》、《過光景》等劇目為代表的賢寓調(diào),不僅曾極大地滿足了當(dāng)?shù)厝说木裥枨�、文化傳播和教育需求、民俗活動需�?而且在促進(jìn)社會和諧方面發(fā)揮了重要作用。更重要的是,它曾為宣傳抗日、宣傳黨的各項政策做出了不可磨滅的貢獻(xiàn)。 盡管賢寓調(diào)曾在北京以南,保定以北的定興方言區(qū)風(fēng)靡一時,但它始終是一個以滿足當(dāng)?shù)剞r(nóng)民自娛自樂為主要目的民間花會小戲。賢寓人沒有像人們期待和想象的那樣,成立職業(yè)戲班。這源于賢寓調(diào)“會戲”性質(zhì)和專業(yè)“戲子”低下的社會地位,以及當(dāng)?shù)厝讼鄬Ω蛔愕纳睢?從小車會、落子會到同樂會,再到劇團(tuán),隨著組織名稱的變化,賢寓調(diào)歷經(jīng)了一個從產(chǎn)生到發(fā)展,再到相對成熟的過程。該過程的動力是民間花會間的良性競爭——斗樂。另外,政府的扶持也起了“錦上添花”的作用。其經(jīng)濟(jì)供養(yǎng)源于眾人捐助和“官產(chǎn)”。 1948年后,特別是從文化大革命開始,在大劇種京劇的威脅下,賢寓調(diào)逐漸淡出了人們的視野,成為大文化吞噬小文化現(xiàn)象的代表。隨著時代的變遷,社會環(huán)境的改變,傳統(tǒng)戲曲面臨著危機。生活在大劇種夾縫中的“會戲"賢寓調(diào)處境更為堪憂。十年動亂無人問津,在不會記譜、沒有錄音、錄像的條件下,當(dāng)?shù)剞r(nóng)民忘卻了賢寓調(diào)的唱法�，F(xiàn)在能回憶起賢寓調(diào)唱腔的年過七旬的幾位老人,已經(jīng)難以描述所有唱腔的本來面目�，F(xiàn)在,殘留在人們記憶中的些許唱腔,也不為所有人信服。 雖然賢寓調(diào)的作用和功能與以往已大不相同,但賢寓老年學(xué)校的老人們?nèi)园阉?dāng)作精神食糧。作為河北省非物質(zhì)文化遺產(chǎn)的賢寓調(diào),挖掘、保護(hù)工作并未取得實質(zhì)性進(jìn)展。這也成為中國非物質(zhì)文化遺產(chǎn)重申報、輕保護(hù)的具體體現(xiàn)。 賢寓調(diào)音樂主要為板腔體,唱腔質(zhì)樸、蒼勁,方言化的唱詞通俗易懂。評劇的腔、梆子的調(diào)、京劇的韻,再加上定興音調(diào)和語調(diào),使其成為風(fēng)格獨特的地方小劇種,具有較高的藝術(shù)價值。所以,賢寓調(diào)應(yīng)得到保護(hù)和傳承。在這一問題上,政府職能部門應(yīng)擔(dān)負(fù)起主要責(zé)任。在此基礎(chǔ)上,筆者認(rèn)為,保護(hù)和傳承賢寓調(diào)的有效措施為：加強對現(xiàn)有賢寓調(diào)傳承人的保護(hù)、賢寓調(diào)走進(jìn)中小學(xué)校園、充分利用賢寓劇場和當(dāng)?shù)仫L(fēng)俗為賢寓調(diào)創(chuàng)造展示機會、賢寓人改變觀念,將賢寓調(diào)融入現(xiàn)有民俗。
[Abstract]:Dingxing County's superior geographical location, natural environment, a long history, The brilliant culture has made the "Hui Opera" sage. The reason why it is called "the Hui Opera" is that this small kind of play exists in the folk flower meeting. It is based on the local folk songs and skipboard operas, based on the local dialect, and absorbs Hebei Bangzi in large quantities. The nourishment of Beijing Opera and other local popular operas has been gradually developed. Such performances as "return to the Dragon", "Yuhuan Ji", "Blood and tears feud", "past time" and so on have not only greatly satisfied the spiritual, cultural and educational needs of the local people. The demand for folklore activities played an important role in promoting social harmony. More importantly, it had made an indelible contribution to the propaganda of resistance against Japan and the Party's policies. Although Xianyu was once popular in the Dingxing dialect area, south of Beijing and north of Baoding, it has always been a folk flower show with the main purpose of satisfying the local peasants to amuse themselves. The Xianyu people are not as people expect and imagine. The establishment of professional drama troupes stems from the low social status of the "opera players" and the relatively rich life of the local people. From the car club, the Luozi club to the fun club, and then to the theater troupe, with the change of the name of the organization, the tone of Xianyu went through a period from birth to development. Then to the relatively mature process. The motive force of this process is the healthy competition among the folk flower clubs. In addition, the support of the government also plays the role of "adding flowers to the cake". Its economic support comes from donations and "official property". After 1948, especially from the beginning of the Cultural Revolution, under the threat of Beijing Opera, Xianyu gradually faded out of people's sight and became the representative of the phenomenon of big culture devouring small culture. With the change of times and the change of social environment, Traditional opera is facing a crisis. The "meeting drama", which lives in the middle of a large drama, is in a more worrying situation. Ten years of turmoil have gone unnoticed, without recording, recording, or video recording. The local farmers forgot the singing method of the hymns. Now it is difficult to describe the true nature of all the songs of a few elderly people over 70 who can recall the hymns. Now, some of the songs that remain in the memory of the people, Not for everyone. Although the functions and functions of the Yin Yu tune are quite different from those of the past, the old people in the Xianyu Senior School still regard it as a spiritual food, and as an intangible cultural heritage of Hebei Province, they excavate it. No substantial progress has been made in the protection work. This has also become the concrete embodiment of China's intangible cultural heritage declaration but less protection. The music of Xianyu tone is mainly composed of a flat cavity, simple, vigorous, dialect singing words that are easy to understand. The tune of the opera, the tune of Bangzi, the rhyme of Beijing opera, plus the tone and tone of Dingxing, make it a kind of local small drama of unique style. It is of high artistic value. Therefore, the tone of the sages should be protected and passed on. On this issue, the government departments should shoulder the main responsibility. On this basis, the author thinks, The effective measures for protecting and inheriting the tone of the past are as follows: to strengthen the protection of the existing talents and the inheritors, to make the best use of the theater and the local customs to create opportunities for the display and change the ideas of the virtuous and the people, and to make full use of the opera and the local customs to create display opportunities for them to change their ideas. Integrate the tone of virtue into the existing folklore.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J825

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王楷婷;蘭州職業(yè)技術(shù)學(xué)院“京劇進(jìn)校園”活動調(diào)查研究[D];西北師范大學(xué);2012年

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本文編號：1507401