【摘要】：本文旨在通過對(duì)昆劇表演藝術(shù)演進(jìn)歷史的梳理,分析其產(chǎn)生變化的內(nèi)在動(dòng)力,并試圖總結(jié)出昆劇表演演變的一些具有規(guī)律性的內(nèi)容。特別是在當(dāng)前昆劇具有了“非物質(zhì)文化遺產(chǎn)”和現(xiàn)時(shí)藝術(shù)形態(tài)雙重身份的情況下,通過對(duì)昆劇表演藝術(shù)形成、演進(jìn),及美學(xué)品格等多方面的研究,以求準(zhǔn)確把握這門古老藝術(shù)的核心特質(zhì)和藝術(shù)價(jià)值,進(jìn)而考察它在當(dāng)代的傳承是否合理和有效。本論文分為六個(gè)部分:第一章是從宏觀的角度對(duì)昆劇表演藝術(shù)的整體做一個(gè)明確的認(rèn)知,從其舞臺(tái)呈現(xiàn)的構(gòu)成元素和藝術(shù)美學(xué)品格方面分析它緣何成為漢民族戲劇表演藝術(shù)集大成者。在第一章明確歷史大背景以及昆劇“百戲之師”歷史地位之內(nèi)在原因的前提下,第二章至第五章,以時(shí)間的自然演進(jìn)為經(jīng)線,以昆劇表演藝術(shù)發(fā)展的關(guān)鍵節(jié)點(diǎn)為緯線,具體展開討論。第二章主要闡述昆劇表演藝術(shù)“集大成”的“豐富性”特征,也是對(duì)昆劇表演在清代乾嘉以前的演變歷程做一個(gè)梳理。本章分為兩個(gè)小節(jié):第一節(jié)論述在昆劇身段譜的詳細(xì)記錄出現(xiàn)之前,昆腔全本戲演出盛行時(shí)代對(duì)于昆劇表演發(fā)展的影響。第二節(jié)中主要論述昆劇主流演出模式轉(zhuǎn)變的歷史大背景和轉(zhuǎn)變過程。第三章重點(diǎn)論述當(dāng)代昆劇表演奉為圭臬的“乾嘉傳統(tǒng)”形成始末及藝術(shù)特色。本章第一節(jié)集中論述促使昆劇在乾嘉時(shí)期形成一整套表演規(guī)范的歷史、政治、藝術(shù)本身發(fā)展等各方面原因,以及折子戲演出在其中扮演的重要角色。第二節(jié),以《牡丹亭》的演出情況為例證,具體分析“乾嘉傳統(tǒng)”以“傳神”為旨?xì)w的藝術(shù)特點(diǎn)。第四章繼續(xù)以歷史時(shí)間為線,集中論述昆劇表演藝術(shù)“戲以人傳”的“活態(tài)性”傳承特征。本章分為兩個(gè)小節(jié):第一小節(jié)論述清代后期至民國,昆劇表演藝術(shù)在花部的擠壓中求生存的演變軌跡。第二小節(jié)論述進(jìn)入1949年之后,昆劇表演藝術(shù)在社會(huì)主義文藝政策和時(shí)代新變的影響下傳承與演變的過程。第五章目光再次轉(zhuǎn)向宏觀角度,探討位列“非遺”名錄之后,當(dāng)代昆劇表演藝術(shù)的演進(jìn)與此前相比,產(chǎn)生了哪些變化。本章從正反兩方面論述,分為兩小節(jié):第一節(jié)以昆劇專業(yè)院團(tuán)的實(shí)際傳承工作為研究對(duì)象,分析“非遺”身份對(duì)昆劇表演藝術(shù)的傳承產(chǎn)生了哪些促進(jìn)作用;第二節(jié)則從反面反思在“非遺”光環(huán)下,當(dāng)代昆劇表演的傳承出現(xiàn)了哪些藝術(shù)上的“隱性”流失。最后余論作為全文的總結(jié)和延伸。這一章立足前文,在以文獻(xiàn)和舞臺(tái)實(shí)際為基礎(chǔ)對(duì)昆劇表演演變的歷史進(jìn)行了一番梳理分析的基礎(chǔ)上,本章針對(duì)當(dāng)代昆劇表演藝術(shù)傳承中出現(xiàn)的問題,提出一些個(gè)人思考。整個(gè)昆劇表演演變的歷史,核心就是以演員身體為載體的身段程式發(fā)展、定型和變化的歷史。對(duì)于昆劇表演藝術(shù)而言,舞臺(tái)美術(shù)、服裝、化妝、燈光等舞臺(tái)構(gòu)成元素是附著于演員的身段程式表演并為其服務(wù)的。昆劇表演演變的歷史中,始終不變的是昆劇藝術(shù)獨(dú)特的美學(xué)特點(diǎn)和豐富的舞臺(tái)表演基本技法,以及在昆劇藝術(shù)自身的美學(xué)框架內(nèi)合理、精細(xì)地運(yùn)用基本技法來表現(xiàn)生活情感的方方面面的舞臺(tái)邏輯。這也是在當(dāng)代復(fù)雜多變的社會(huì)背景下傳承昆劇表演藝術(shù)所要把握的核心。
[Abstract]:The purpose of this paper is to sort out the evolution history of Kun Opera's performing art, analyze its internal motive force, and try to summarize some regular contents of its performance evolution. Especially under the circumstances that Kun Opera has the dual status of "intangible cultural heritage" and the current art form, this paper tries to analyze Kun Opera's performing art. This paper is divided into six parts: the first chapter is to make a clear understanding of the whole performance art of Kunqu Opera from a macroscopic perspective, from its dance. On the premise of clarifying the historical background and the inherent reasons of the historical status of Kun Opera as a "master of all kinds of operas", the second to fifth chapters take the natural evolution of time as the longitude and take the development of Kun Opera performing art as the thread. The second chapter mainly elaborates the "richness" of Kun Opera performing arts, and also sorts out the evolution of Kun Opera performance before the Qianjia period in the Qing Dynasty. This chapter is divided into two sections: the first section discusses the Kun Opera full play before the detailed records of Kun Opera body parts. The second section mainly discusses the historical background and process of the transformation of the mainstream performance mode of Kun Opera. The third chapter focuses on the beginning and end of the formation of the "Qianjia tradition" and its artistic features, which are regarded as the standard of contemporary Kun Opera performance. In the second section, taking the performance of the Peony Pavilion as an example, the artistic characteristics of the Qian-Jia tradition with the aim of "vivid spirit" are analyzed concretely. The fourth chapter continues to focus on the historical time line and focuses on the discussion. This chapter is divided into two sections: the first section deals with the evolution of Kun Opera Performing Arts in the late Qing Dynasty to the Republic of China. The second section discusses the new changes of Kun Opera Performing Arts in the socialist literary policy and the times after 1949. The fifth chapter focuses on the evolution of the performing arts of Kun Opera from a macro perspective, and explores what changes have taken place in the evolution of the performing arts of contemporary Kun Opera compared with the previous ones. The second section reflects on what artistic recessiveness has been lost in the inheritance of Kun Opera under the halo of "non-legacy". The last part is the conclusion and extension of the full text. Based on the analysis of the evolution of Kun Opera performance, this chapter puts forward some personal thoughts on the problems in the inheritance of Kun Opera performance art. In terms of art, stage art, costume, make-up, lighting and other stage elements are attached to the actor's stage performance and serve him. It is also the core of inheriting the performing arts of Kun Opera under the complicated and changeable social background.
【學(xué)位授予單位】：上海戲劇學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：J82

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王藝翰;;《夢(mèng)中緣傳奇序》與花雅之爭(zhēng)關(guān)系辨誤——兼論清中后期北京劇壇的昆曲興衰[J];文化藝術(shù)研究;2015年04期

2 鄭小雅;;論晚明曲學(xué)虛實(shí)觀[J];泉州師范學(xué)院學(xué)報(bào);2013年01期

3 戴云;;碧蕖館舊藏名伶手錄重訂昆曲曲譜身段譜述[J];戲曲藝術(shù);2012年04期

4 丁修詢;;昆曲演劇方法與中國演劇體系——關(guān)于《昆曲表演學(xué)》(技術(shù)技巧卷)中的一些問題[J];藝術(shù)百家;2011年03期

5 胡亞娟;;《審音鑒古錄》版本及年代作者考[J];藝術(shù)百家;2007年03期

6 戴平;;論昆曲可持續(xù)性發(fā)展的關(guān)鍵:人才接續(xù)[J];戲劇藝術(shù);2007年01期

7 解玉峰;也談中國昆曲作為“文化遺產(chǎn)”的保存問題[J];戲劇藝術(shù);2005年01期

8 葉長海;中國藝術(shù)虛實(shí)論[J];戲劇藝術(shù);2001年06期

9 吳新雷;關(guān)于昆劇研究的世紀(jì)回顧[J];東南大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);1999年01期

10 李惠綿;;清代曲論之虛實(shí)論初探[J];戲劇藝術(shù);1993年03期

，

本文編號(hào)：2197154