调腔演出研究（1634—2015）

发布时间：2018-03-25 06:33

  本文选题：新昌调腔　切入点：人类表演学　出处：《上海戏剧学院》2016年博士论文

【摘要】：调腔自元朝南北声腔交流而产生,剧目分古戏、时戏及目连戏三大类。音乐特色之一是帮腔和叠板,部份传统戏码仍以“不托丝竹,锣鼓助节,前场启齿,后场帮接”的古老干唱形式演出,即不用丝弦、仅以打击乐伴奏,而俗称“后场”的乐队更兼负帮腔及接腔的角色。新昌调腔剧团指出调腔至今已有超过六百年历史,明清两代班社曾遍及杭、婺、绍、甬、台、温各地,清末民初由盛转衰,至今仅新昌一隅存演,如何保存这历来的“表演传统”成为了政府与学者争相呼吁的当务之急。霍布斯鲍姆(Eric Hobsbawm)在《传统的发明》(The Invention of Tradition)一书上提到,许多古老的“传统”,其起源时间是相当晚近的,但往往与具有重大历史意义的过去产生连结。笔者认为当代戏曲研究者在描述传统戏曲时,不应笼统、定型化的一概而论,而是应该带有时间阶段的意义去审视其变化的过程,因此笔者欲以浙江省新昌县中的调腔艺术作为研究对象,试着以前人的研究成果为基础,对于新昌调腔自1634年以来的发展进行深度的记录与解读,观察这段时间内调腔的传承与发展。本研究的目的并非推翻过去的总体叙述,更非否决前人的论点,自行标新立异地挖掘新的调腔历史,而是从各方呼吁“恢复传统”的语境出发,对目前现有的史料文献、实地的田野调查,进行爬梳与判别,进一步去做细部而且深入的诠释及研究,记录下调腔戏曲艺术传统演变的途径,并试图解决调腔艺术在继承过程中对于“传统”一词所存在的疑虑,借此抛砖引玉,让更多的学者们在未来的研究中,可以注意到,“传统”一词并非只是与“现代”对立的一个词,而是具有时间和阶段性的演变历程。本研究从调腔形成背景入手,从地域关系、民间信仰为调腔的形成背景进行分析。希望借由新昌、绍兴等地方志,察看历史文献中对于调腔的记录,同时也从儒释道的文化观所产生的目连戏中论及宗教戏曲对于调腔的影响。同时,也会对对调腔的渊源进行评述,自1950年以来有许多学者对于调腔的渊源产生分歧与论辩,笔者总括为三大源流:南腔北调、余姚腔、弋阳腔,并分别爬梳资料,阐释其说法,找出这三家论述的逻辑与矛盾处,同时透过学者的意见,探讨调腔“传统”之意义。接下来,从清代开始,分述调腔由盛转衰的原因,同时再以50年代戏曲改革到纳入国家级首批“非物质文化遗产”名单这段历史为讨论要点,论及当代政府、企业所进行的赞助推广活动。最后论文提出对于调腔传承与发展的建议,希望能够借此获得更多人对于调腔的关注。
[Abstract]:The tunes come from the exchanges between the north and the south of the Yuan Dynasty. The repertoire is divided into three categories: the ancient opera, the time play and the mulian opera. One of the musical features is the help cavity and the folding plate. Some of the traditional operas are still in the form of "no silk bamboo, no gongs and drums to help the festival", and the front stage. The old dry singing form of "backcourt support", that is, no strings, only percussion accompaniment, and the band, commonly known as "backcourt," also played a role in helping and connecting. The Xinchang tune troupe points out that the tunes have a history of more than 600 years. In the Ming and Qing dynasties, the Banca had spread over Hangzhou, Wu, Shao, Yong, Taiwan, Wen, and the late Qing Dynasty and the beginning of the Republic of China from prosperity to decline. Up to now, only a corner of Xinchang has been performed. How to preserve this traditional "performance tradition" has become a pressing matter for the government and scholars alike. In the book the Invention of tradition, Hobsbawm notes that many ancient "traditions" have a fairly recent origin. However, it is often associated with the historical past. The author thinks that contemporary opera researchers should not generalize and generalize the traditional opera, but should examine the process of its change with the meaning of time stage. Therefore, the author wants to take the tune art in Xinchang County of Zhejiang Province as the research object, and try to record and interpret the development of the tune tune in Xinchang County since 1634, based on the previous research results. The purpose of this study is not to overturn the general narrative of the past, much less to reject the previous arguments, and to explore the history of the new tunes in an innovative way. Instead, proceeding from the context of calling for "restoration of tradition" from all sides, the existing historical documents, field investigations on the ground, crawling and discriminating, and further detailed and in-depth interpretation and research are carried out. Record down the way of the traditional evolution of the opera art, and try to solve the misgivings about the word "tradition" in the process of inheriting the tune art, so that more scholars can study it in the future. It can be noted that the word "tradition" is not only a word opposed to "modern", but also has a history of evolution in time and stage. Folk beliefs are the background for the formation of the tunes. It is hoped that with the help of the local chronicles of Xinchang and Shaoxing, they will look at the records of the tunes in the historical documents. At the same time, it also discusses the influence of religious opera on the tune from the cultural view of Confucianism, Buddhism and Taoism. At the same time, it also comments on the origin of the tune. Since 1950, many scholars have had different opinions and arguments on the origin of the tune. The author summed up three major sources: the South-to-North tune, the Yuyao Opera, the Yiyang dialect, and separately combed the data to explain their statements, to find out the logic and contradictions of the three expositions, and at the same time through the opinions of the scholars. This paper discusses the significance of the "tradition" of the tune. Then, starting from the Qing Dynasty, the reasons for the rise and fall of the tune are described. At the same time, the history from the reform of the 1950s opera to the inclusion of the first batch of "intangible cultural heritage" in the national level is taken as the main point of discussion. Finally, the paper puts forward some suggestions for the inheritance and development of tunes, hoping to gain more attention to the tunes.
【学位授予单位】：上海戏剧学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J825
，

本文编号：1661960