本文選題：池州儺戲 + 文化傳承�。� 參考：《安徽師范大學(xué)》2017年碩士論文

【摘要】：池州儺戲是國(guó)內(nèi)迄今為止保存較古老完整的古代戲曲,無(wú)論在表演方式、演出劇目、唱法唱腔,還是在面具道具、服飾砌末等方面都有具體體現(xiàn),被學(xué)術(shù)界譽(yù)為中國(guó)“戲曲活化石”“古文化的層疊積淀”,其中蘊(yùn)含了豐富的宗教學(xué)、民俗學(xué)、戲曲學(xué)、人類學(xué)、考古學(xué)等學(xué)科知識(shí),也為當(dāng)下考察遠(yuǎn)古文明和時(shí)代思想提供了折射的活態(tài)樣本。同時(shí),由于池州儺戲一方面內(nèi)屬于中國(guó)儺文化,具有古樸、原始、鄉(xiāng)土等儺文化的普遍特征,另一方面還因其地域文化和歷史流變的注入,通過(guò)兼收并蓄而形成一種池州地區(qū)特有的儀式戲劇。因此,池州儺戲被國(guó)務(wù)院列入了“國(guó)家首批非物質(zhì)文化遺產(chǎn)名錄”,備受社會(huì)各界的關(guān)心與矚目。隨著時(shí)代的變遷,池州儺戲從一種日常的生活事象逐漸抽離,成為一種傳統(tǒng)文化和歷史遺產(chǎn),失去了其原生的生活關(guān)聯(lián)度和敬畏崇拜感。而儺戲本身的古老陳舊和“封建迷信”的標(biāo)簽,原始社會(huì)圖騰崇拜的起源與現(xiàn)代科學(xué)技術(shù)的解釋相互對(duì)立,賴以生存的農(nóng)耕文明被高度發(fā)達(dá)的工業(yè)文明侵蝕,宗族內(nèi)部口傳心授的一脈傳承與融媒時(shí)代信息傳播的幾何式裂變格格不入,古樸單調(diào)的儺舞動(dòng)作在光怪陸離的媒介奇觀下顯得尤為笨拙沉重。因此,面對(duì)池州儺戲的保護(hù),存在著一定的爭(zhēng)議,也不可避免地出現(xiàn)傳播誤區(qū)。通過(guò)調(diào)查分析,池州儺戲與當(dāng)代媒介文化存在著斷裂和連接,它投射出現(xiàn)代性的后果,也需要進(jìn)行意義的重構(gòu);它超脫于信仰,也植根于傳統(tǒng);它反映著數(shù)字時(shí)代的鴻溝,也連接著過(guò)去、現(xiàn)在和未來(lái)。本課題從傳播學(xué)、文化人類學(xué)的視域出發(fā),還將進(jìn)行長(zhǎng)期深入的田野調(diào)查,進(jìn)入池州儺戲的文化空間,接觸更多的現(xiàn)場(chǎng)影像,收集更多第一手的資料,為非物質(zhì)文化遺產(chǎn)的研究提供一個(gè)具體研究實(shí)例,同時(shí)提出傳承建議督促池州儺戲的切實(shí)保護(hù)。針對(duì)池州儺戲的傳承路徑,還要從適度復(fù)魅、文化自覺、環(huán)境依托、傳媒視野等幾個(gè)角度出發(fā)來(lái)合理建構(gòu)。
[Abstract]:Chizhou Nuo Opera is an ancient opera that has been preserved so far in our country. It is embodied in the performing way, the performing repertoire, the singing style, the mask props, the dress and so on. Known as the "living fossil of Chinese opera" and "the accumulation of ancient culture", which contains a wealth of religious, folklore, drama, anthropology, archaeology and other disciplines, It also provides a living sample of refraction for the study of ancient civilization and the thought of the times. At the same time, because Chizhou Nuo opera belongs to Chinese Nuo culture on the one hand, it has the common characteristics of ancient, primitive, native Nuo culture, on the other hand, it also because of the injection of regional culture and historical change. A ritual drama unique to Chizhou area was formed by the combination of eclectic and eclectic. Therefore, Chizhou Nuo Opera has been listed by the State Council as the first batch of intangible cultural heritage list, which has attracted the attention of all walks of life. With the change of the times, Chizhou Nuo Opera gradually separated from a kind of daily life and became a kind of traditional culture and historical heritage, and lost its original life related degree and the sense of reverence and worship. However, the old and old Nuo opera itself and the label of "feudal superstition", the origin of totem worship in primitive society and the interpretation of modern science and technology are opposite each other, and the agricultural civilization which depends on survival is eroded by highly developed industrial civilization. The tradition of oral instruction within the clan is incompatible with the geometric fission of information transmission in the media era, and the simple and monotonous Nuo dance is particularly clumsy under the strange and strange media spectacle. Therefore, in the face of Chizhou Nuo opera protection, there are some disputes, but also inevitably spread misunderstanding. Through investigation and analysis, Chizhou Nuo Opera has been broken and connected with contemporary media culture. It reflects the consequences of modernity and needs to be reconstructed; it is detached from belief and rooted in tradition; it reflects the divide of the digital age. It also connects the past, the present and the future. From the perspective of communication and cultural anthropology, this topic will also carry out long-term and in-depth field investigations, enter the cultural space of Chizhou Nuo Opera, contact more scene images, and collect more first-hand information. It provides a concrete research example for the study of intangible cultural heritage, and puts forward some suggestions to supervise the protection of Chizhou Nuo Opera. In view of the inheritance path of Chizhou Nuo Opera, it is necessary to construct reasonably from several angles, such as moderate reenchantment, cultural consciousness, environmental support, media vision and so on.
【學(xué)位授予單位】：安徽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J825;G206

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 趙巧艷;;侗族傳統(tǒng)民居“象征符號(hào)”研究之三 侗族傳統(tǒng)民居的指涉性象征符號(hào)闡釋[J];廣西民族師范學(xué)院學(xué)報(bào);2015年05期

2 何根海;;村落鏡像與神圣砌末——安徽池州市貴池區(qū)梅街鎮(zhèn)姚街村蕩里姚宗族儺神會(huì)的文化生態(tài)考察[J];銅仁學(xué)院學(xué)報(bào);2014年05期

3 金龍;;池州儺面具造型審美特征探析[J];重慶科技學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2010年10期

4 何根海;張邦啟;;安徽省貴池縣茅坦鄉(xiāng)山湖村儺神會(huì)的田野調(diào)查報(bào)告[J];池州學(xué)院學(xué)報(bào);2010年01期

5 呂光群;;將池州儺舞儺戲搬上舞臺(tái)的嘗試——小議繼承與保護(hù)[J];黃梅戲藝術(shù);2009年02期

6 董曉萍;;民俗學(xué)與非物質(zhì)文化遺產(chǎn)保護(hù)[J];文化遺產(chǎn);2009年01期

7 汪勝水;石雁;;池州儺戲面具藝術(shù)的美學(xué)內(nèi)涵解讀[J];沙洋師范高等�？茖W(xué)校學(xué)報(bào);2006年06期

8 王義彬;;別無(wú)選擇的生存:泛宗教、邊緣化——池州儺戲的文化內(nèi)涵[J];音樂(lè)藝術(shù).上海音樂(lè)學(xué)院學(xué)報(bào);2006年03期

9 張邦啟;;儺戲《和番記》及其文化功能[J];池州師專學(xué)報(bào);2006年04期

10 王平;;明清兩代安徽貴池儺戲探微[J];戲曲研究;2005年01期

相關(guān)博士學(xué)位論文 前1條

1 王義彬;池州儺戲藝術(shù)及其文化研究[D];福建師范大學(xué);2004年

相關(guān)碩士學(xué)位論文 前2條

1 檀雨桐;池州儺戲面具文化研究[D];安徽大學(xué);2014年

2 金龍;貴池儺面具的數(shù)字化圖形設(shè)計(jì)研究[D];首都師范大學(xué);2007年

，

本文編號(hào)：1990738