【摘要】：壽陽(yáng)坐唱,主要產(chǎn)生于壽陽(yáng)縣境內(nèi),是民間藝人在街頭的道古、說(shuō)唱,在晉中地區(qū)廣為流傳。 壽陽(yáng)坐唱產(chǎn)生于新中國(guó)成立初期,壽陽(yáng)縣文化館曲藝工作者在當(dāng)?shù)孛窀栊≌{(diào)的基礎(chǔ)上,吸收了蓮花落的說(shuō)唱曲調(diào),并在晉南道情和武鄉(xiāng)琴書(shū)的音樂(lè)影響下創(chuàng)作而成。五六十年代發(fā)展非常迅速,但是在文化大革命期間發(fā)展卻受到了阻礙,一直到黨的十一屆三中全會(huì)后,才又走向正規(guī),八十年代壽陽(yáng)坐唱進(jìn)入其發(fā)展的高峰期,但是在九十年代卻逐漸走向衰落,乃至現(xiàn)在瀕臨滅絕,對(duì)其進(jìn)行及時(shí)有效的保護(hù),是我們現(xiàn)在所面臨的重大任務(wù)。 壽陽(yáng)坐唱特色鮮明:語(yǔ)言通俗易懂,且具有鄉(xiāng)土氣息;音樂(lè)體制獨(dú)樹(shù)一幟,既有原調(diào),又有花調(diào);表演形式也獨(dú)具特色,文場(chǎng)武場(chǎng)臺(tái)上坐,一人演多角,演員自彈自唱,演出地點(diǎn)也非常隨意;表現(xiàn)形式較之戲曲更加直接,比之戲曲更容易與觀眾交流與互動(dòng)。運(yùn)用說(shuō)、唱、演、噱、學(xué)的藝術(shù)手法,深受觀眾的喜愛(ài)。最應(yīng)該引起關(guān)注的是其在發(fā)展后期所出現(xiàn)的小戲化傾向,唱詞由第三人稱轉(zhuǎn)變?yōu)榈谝蝗朔Q,出現(xiàn)了簡(jiǎn)單的裝扮,身段的程式化和虛擬性的表演,還直接插入戲曲聲腔,從這些方面都能夠看出壽陽(yáng)坐唱的小戲化傾向愈來(lái)愈濃。壽陽(yáng)坐唱的劇本內(nèi)容充實(shí)、題材廣泛,思想內(nèi)涵豐富。因此,成為了壽陽(yáng)縣人民非常喜愛(ài)的表演藝術(shù)形式。 目前壽陽(yáng)坐唱面臨十分困難的處境,生存狀態(tài)岌岌可危:演員傳承面臨斷代的危險(xiǎn);劇本創(chuàng)作后繼無(wú)人;形式內(nèi)容老化影響其發(fā)展;觀眾年齡結(jié)構(gòu)老齡化并日趨減少。為保護(hù)這一瀕臨滅絕的地方劇種,壽陽(yáng)坐唱要不斷地推陳出新,注入新鮮元素;還要獲取政府部門(mén)的支持與幫助,成立專門(mén)的保護(hù)機(jī)構(gòu)。 本文是在戲曲田野調(diào)查的基礎(chǔ)下,結(jié)合學(xué)科內(nèi)部及傳播學(xué)理論與非物質(zhì)文化遺產(chǎn)保護(hù)的理論,從人類學(xué)、、民俗學(xué)、宗教學(xué)的角度,對(duì)壽陽(yáng)坐唱這一瀕臨消亡的地方小戲,做一最大程度的關(guān)注與全面的研究。從而總結(jié)出壽陽(yáng)坐唱的藝術(shù)價(jià)值與文化價(jià)值,提出可行性的保護(hù)措施,展望其發(fā)展前景。本文認(rèn)為,壽陽(yáng)坐唱的發(fā)展面臨著和其他戲曲劇種同樣的問(wèn)題,我們亟需為之創(chuàng)造良好的生存環(huán)境,并使之走入良性發(fā)展的軌道。
[Abstract]:Shouyang sit-sing, mainly produced in Shouyang County, is a folk artist in the streets of Daogu, rap, widely spread in Jinzhong region. Shouyang was born in the early days of the founding of New China. On the basis of the local folk song minor, the qu artists of Shouyang County Cultural Center absorbed the lianhualuo rap tune and created it under the influence of Jinnan Taoism and Wuxiang Qin books. In the 1950s and 1960s, the development was very rapid, but it was hindered during the Cultural Revolution. It was not until after the third Plenary session of the Eleventh Central Committee of the Party that it became formal again. In the 1980s, Shouyang sat down and sang at the peak of its development. However, in the 1990s, it has gradually declined, and now it is on the verge of extinction. It is a great task for us to protect it timely and effectively. The characteristics of Shouyang's sitting and singing are as follows: the language is easy to understand and has a local flavor, the music system is unique, both original and flower-like; The performance form is also unique, Wenchang Wuchang sitting on the stage, one person acting multi-angle, the actor playing from singing, the performing place is also very casual; the form of performance is more direct than the opera, more easy to communicate and interact with the audience than the opera. The use of saying, singing, acting, amusement, learning the art techniques, deeply loved by the audience. The most important thing to pay attention to is its tendency to make small plays appear in the later stage of its development. Singing words have changed from the third person to the first person. There have been simple costumes, stylized and fictitious performances of the body, as well as direct insertion of the opera voice. From these aspects we can see Shouyang's tendency to sit and sing more and more. Shouyang sit-sing plays rich content, broad themes, rich ideological connotation. Therefore, it has become a popular performing art form in Shouyang County. At present, Shouyang is facing a very difficult situation, and its living condition is at stake: the actor's inheritance is in danger of becoming old; there is no successor to the script writing; the aging of the formal content affects its development; and the age structure of the audience is aging and decreasing day by day. In order to protect this endangered local drama, Shouyang should constantly bring forth the old and inject new elements, and also obtain the support and help of government departments to set up special protection agencies. Based on the field investigation of opera, combining the theory of internal discipline and communication and the theory of the protection of intangible cultural heritage, this paper, from the angle of anthropology, folklore and religious education, sings to Shouyang this local play, which is on the verge of extinction. Do a maximum of attention and comprehensive research. This paper summarizes the artistic and cultural value of Shouyang's sit-singing, puts forward feasible protection measures, and looks forward to its development prospect. This paper holds that the development of Shouyang sit-singing is faced with the same problems as other operas, and we urgently need to create a good living environment for it, and make it into the track of benign development.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J826

【參考文獻(xiàn)】

相關(guān)期刊論文 前3條

1 沈彭年;說(shuō)唱藝術(shù)探源[J];文藝研究;1987年05期

2 朱恒夫;民間小戲產(chǎn)生的途徑與形態(tài)特征[J];文藝研究;1991年01期

3 何為;戲曲劇種與戲曲現(xiàn)代化[J];文藝研究;1991年06期

，

本文編號(hào)：2377924