本文選題：清代亂彈　切入點(diǎn)：威縣亂彈　出處：《河北師范大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：地方戲曲在清代被稱作為亂彈,自清中期以來亂彈代替?zhèn)髌娉蔀橹袊鴳蚯陌l(fā)展主流,自此中國戲曲發(fā)展到一個(gè)各地聲腔爭奇斗艷,民間戲曲走向歷史舞臺的時(shí)代。亂彈發(fā)展勢頭強(qiáng)勁,使得中國戲曲又重新回到俗文學(xué)的形態(tài),可以看作是宋元南戲的返璞歸真。亂彈不重文本而重場上演藝,自亂彈興盛以來,中國戲曲達(dá)到了一個(gè)演藝全面成熟的階段。而今存留在全國各地的地方劇種,大多即是清代亂彈的延續(xù)形式。 威縣亂彈作為河北省一個(gè)獨(dú)特的地方劇種,有著自身的藝術(shù)特征。威縣亂彈的表演明顯帶有“慷慨悲歌”的燕趙之風(fēng),其風(fēng)格古樸粗獷、高亢悲壯。另外它又是一個(gè)多聲腔劇種,在發(fā)展過程中吸收了各地不同的唱腔,是歷史上各種聲腔交流融合的一個(gè)典型例證。筆者通過查閱威縣亂彈的相關(guān)資料后發(fā)現(xiàn),對威縣亂彈的研究大都著重于對其音樂的分析,而缺乏對它進(jìn)行一個(gè)系統(tǒng)、整體的研究。因此,筆者在2009年春節(jié)前后,先后八次走訪威縣縣城、業(yè)余劇團(tuán)所在地—馮村、亂彈木偶戲的所在地—銀邊莊,對當(dāng)?shù)氐乃嚾诉M(jìn)行了采訪并觀看了威縣亂彈的演出。本文即是在以田野調(diào)查的基礎(chǔ)上,對威縣亂彈的形成問題、名字來源、劇目特色、方言特征、舞臺演藝進(jìn)行了系統(tǒng)的研究與分析。 論文第一章主要對清代“亂彈”一詞的涵義進(jìn)行了梳理,在此基礎(chǔ)上,對威縣亂彈這一名稱的來源做了分析:威縣亂彈即是從清代亂彈這一普通名詞變?yōu)樘厥饷~;另考證威縣亂彈來源于民間俗曲,并與浙江一帶的地方戲曲有密切聯(lián)系,在融合了南北各地聲腔之后,發(fā)展成為一種多聲腔的地方劇種。 第二章的論述則是在劇本文本的參照下,著重分析威縣亂彈的劇目特色。威縣亂彈重老生的唱功,其劇目以披袍秉笏的歷史戲居多;但也不乏上演一些生活小戲。威縣亂彈所唱所演也是符合了冀南一帶人民的欣賞口味。 第三章比較了威縣亂彈所使用的方言與通用的北方官話之間的區(qū)別,威縣亂彈的咬字發(fā)音是以威縣一帶的方言為基礎(chǔ),在調(diào)值、聲母、韻母上與北方官話有著明顯的變化,威縣亂彈發(fā)音分尖團(tuán)字亦是地方方言使然。與京劇一樣,威縣亂彈唱詞韻腳遵循“十三轍”,使用較多的即是“中東”、“江陽”、“言前”、“人辰”等轍。 第四章則是探究威縣亂彈的表演藝術(shù),并把亂彈木偶戲也作為威縣亂彈的一種場上演藝容納進(jìn)來。這一章重點(diǎn)從戲曲的演出類型、演出前的儀式膜拜、演出場次、腳色體制、程式規(guī)范、唱腔伴奏及樂隊(duì)布置等方面來闡述威縣亂彈的表演藝術(shù)。
[Abstract]:In the Qing Dynasty, the local opera was called "disorderly play". Since the middle of the Qing Dynasty, the local opera has replaced the legend as the mainstream of the development of Chinese opera. Since then, the Chinese opera has developed to a place where the vocal voice is competing for splendor. Folk opera moves to the era of historical stage. With the strong development momentum, Chinese opera has returned to the form of vulgar literature again. It can be regarded as the return to nature of the Southern Opera of Song and Yuan dynasties. It pays no attention to the text but the performing arts on the stage. Since the rise of the chaotic play, it can be seen as the return to nature of the Southern Opera in the Song and Yuan dynasties. Chinese opera has reached a stage of full maturity in performing arts. Nowadays, most of the local operas that remain in various parts of the country are the continuation of the chaotic play in the Qing Dynasty. As a unique local drama in Hebei Province, Weixian Tampong has its own artistic characteristics. The performance of Waixian Tampong obviously has the style of Yanzhao, which is characterized by the "impassioned Song of grief", and its style is simple and rugged. In addition, it is a kind of multivocal drama, absorbing different vocals from all over the world in the course of its development, which is a typical example of the exchange and fusion of various vocals in history. The author found that by consulting the relevant materials of Weixian disorderly bomb, I found that. Most of the research on random bombs in Weixian is focused on the analysis of its music, but it lacks a systematic and overall study. Therefore, the author visited Weixian county town eight times before and after the Spring Festival on 2009, where the amateur theater troupe is located-Feng Village. Yinbian Zhuang, the site of the dummy show, interviewed the local artists and watched the performance of the random play in Weixian. This article is based on the field investigation, to the formation problem, the source of the name, and the characteristics of the repertoire of the random play in Weixian. Dialect characteristics, stage performing arts are systematically studied and analyzed. The first chapter of the paper mainly combs the meaning of the word "random bomb" in Qing Dynasty. On this basis, it analyzes the origin of the name of "random bomb" in Weixian: Weixian tangle bomb is changed from a common term of "random bomb" to a special noun in Qing Dynasty; In addition, it is proved that the disorderly play in Weixian originated from folk folk music, and was closely related to the local opera in Zhejiang, and developed into a kind of multi-tone local opera after the combination of the different vocals from the north and south. The second chapter is based on the text of the script, focusing on the analysis of Weixian disorderly play of the characteristics of the repertoire, Weixian tangle repeat the old students' singing skills, its repertoire is mostly draped robes and Wat's historical play; But there are also some small life drama. Weixian disorderly play is also in line with the appreciation of the people of southern Hebei taste. The third chapter compares the differences between the dialect used in Weixian disorderly play and the common northern Mandarin. The pronunciation of the pronunciation of Weixian disorderly play is based on the dialect around Weixian, and has obvious changes with the northern Mandarin in terms of adjustment value, consonant, vowel and vowel. Weixian disorderly play pronunciation is also caused by local dialects. Like Beijing Opera, Weixian disorderly play rhymes follow "13 ruts", which are more often used in "Middle East", "Jiang Yang", "before speech", "Man Chen" and so on. Chapter 4th explores the performing art of random play in Weixian, and takes it into account as a kind of theatrical performance in Weixian. This chapter focuses on the type of performance of the opera, the ritual worship before the performance, the number of performances, and the character system. Program specification, singing accompaniment and band arrangement to explain the performance of Weixian random play art.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J825

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本文編號：1593645