本文選題：北路壯劇 + 傳承　； 參考：《廣西民族大學》2009年碩士論文

【摘要】： 本論文以歷史人類學的理論方法和視角特點,通過考查一個北路壯劇傳人的生活史,分析北路壯劇作為一種傳統(tǒng)藝術形式在現(xiàn)代化過程當中的際遇。北路壯劇是廣西壯族勞動人民創(chuàng)造的一種民間戲曲,是操北路方言群眾喜歡的地方戲曲,是壯族人民生活理想和抱負的寄托。但是,作為一種活態(tài)傳統(tǒng)文化,由于受自身存在形式的限制和人類社會結構、社會環(huán)境改變的影響,再加上世界經(jīng)濟、科技一體化和現(xiàn)代化進程加快的沖擊,文化標準化趨勢的擠壓,它存在的社會基礎日趨狹窄。本文以深入訪談、參與觀察等田野調(diào)查為研究方法,以北路壯劇的第十代傳承人——新師閉克堅學藝、傳藝、授藝的一生經(jīng)歷為主線,展開討論傳統(tǒng)文化在現(xiàn)代化背景下的境遇。在傳統(tǒng)的稻作文化熏染下,北路壯劇表演盛行,演員活躍,表演者受人尊敬;進入“現(xiàn)代化”,北路壯劇由于“落后”、“腐朽”而遭到拋棄,尤其是在文化大革命時期,壯劇表演被取締,傳承者被囚進了監(jiān)獄;改革開放后,社會經(jīng)濟文化環(huán)境的變遷,使得北路壯劇的陣地日益萎縮,演員們?yōu)榱松嬒嗬^離開北路壯劇的舞臺;直到21世紀,政府主導非物質(zhì)文化遺產(chǎn)保護工作,北路壯劇重獲新生,表演者又活躍在各地的舞臺,但是新形勢下面臨的新問題是北路壯劇將以怎樣的方式繼續(xù)傳承,沿襲傳統(tǒng)方式還是改革創(chuàng)新?這個問題牽動著每一個壯劇人。
[Abstract]:Based on the theoretical method and visual angle of historical anthropology, this paper analyzes the fate of Beilu Zhuang drama as a traditional art form in the process of modernization by examining the life history of a beilu Zhuang opera. Beilu Zhuang Opera is a folk opera created by the working people of Guangxi Zhuang nationality. However, as a living traditional culture, due to the limitations of its own forms of existence and the social structure of human society, the social environment changes, coupled with the impact of the world economy, scientific and technological integration and the acceleration of the process of modernization, With the development of cultural standardization, its social foundation is becoming narrower and narrower. This paper takes in-depth interview, participation in observation and other fieldwork as the research method, and takes the life experience of the tenth generation of Beilu Zhuang Opera as the main line. To discuss the situation of traditional culture in the context of modernization. Influenced by the traditional rice culture, the Beilu Zhuang opera was popular, the actors were active and the performers were respected. In the "modernization", the Beilu Zhuang opera was abandoned because of its "backwardness" and "decay", especially during the Cultural Revolution. Zhuang opera performances were banned and inheritors imprisoned. After reform and opening up, the social, economic and cultural environment changed, making the position of Beilu Zhuang Opera shrinking day by day. Actors and actresses left the stage of Beilu Zhuang Opera one after another for their livelihood; until the 21st century, The government is leading the work of protecting the intangible cultural heritage, the Beiluzhuang drama has been reborn, and the performers are also active on the local stage. However, the new problem in the new situation is how the Beiluzhuang drama will continue to be passed down. Follow the traditional way or reform and innovation? This question affects everyone in the Zhuang opera.
【學位授予單位】：廣西民族大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J825

【參考文獻】

相關期刊論文 前1條

1 丁世博;;從十大臺師看田林壯劇源流[J];民族藝術;1987年01期

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本文編號：1801962