戏曲清官戏的文化思考

发布时间：2018-04-19 14:55

本文选题：士大夫精神 + 清官文化　；参考：《中国艺术研究院》2017年硕士论文

【摘要】：清官戏作为戏曲题材中的一个类型有着悠久的发展历史,以此塑造的清官形象的数量更是不胜枚举。作为一种独特文化心理的清官理想,以受儒家思想影响形成的士大夫精神为文化基础,在不同历史时期呈现出了不同的时代文化形态和不同的审美内涵。第一章从戏曲源流的发展角度重点阐述了清官戏的文化基础。巫史传统中孕育着戏曲衍生的因素,清官戏的文化源头和讽谏功用也潜藏其中,这些因素在优孟衣冠、参军戏以及后来的宋杂剧中得到了进一步的积淀和发展。“巫”与“史”的分合所形成的社会伦理建构方法为士大夫阶层的形成提供了文化心理的历史底蕴,受儒家学说熏陶的“士”文化构成了清官戏产生的文化基础。本章通过梳理清官在道统、政统、学统“三统”中的文化地位,为后两章清官戏时代文化形态和审美内涵的分析提供了历史合理性。第二章致力于梳理清官意涵的历史发展以及清官戏不同的时代文化形态。清官的意涵在历史上发生了三次改变,本章第一节将这三次变化分为三个历史阶段进行梳理。戏曲雏形时期的戏剧样式中已经出现了清官戏因素,在戏曲成熟之后,由于社会背景和政治氛围的差异,清官戏呈现出了不同的时代文化色彩和审美特征。第三章从清官戏的戏剧结构这一内部因素出发,结合清官戏的经典剧目以及具有典型性的清官形象,着重分析了清官复杂的人物属性以及清官理想在具体实践中的两难境地。剧作家运用独特的戏剧手段,将在现实中身处矛盾冲突中的清官难题在清官戏中得到了理想化的解决,这在展现广大人民共同社会心理和美好愿望的同时,也显示出了清官戏包含迷信思想、封建道德以及弱化现实抗争力度的历史局限性。余论简述了戏曲“美风化,厚人伦”的审美品格,得出清官戏在当代舞台搬演的必要性以及当代清官戏创作的文化价值和现实意义。
[Abstract]:As a type of opera, Qing Guan Opera has a long history of development.As a kind of unique cultural psychology, the ideal of clean official is based on the spirit of literati and officials formed by Confucian thought, and presents different cultural forms and different aesthetic connotations in different historical periods.The first chapter focuses on the cultural basis of Qing Guan Opera from the perspective of the development of opera source.The tradition of witchcraft gave birth to the derivative factors of opera, and the cultural source and ironic remonstrating function of Qing Guan opera were also hidden among them. These factors were further accumulated and developed in Union, military drama and later Song Dynasty dramas.The construction method of social ethics formed by the combination of "witchcraft" and "history" provides the historical background of cultural psychology for the formation of literati and bureaucrats, and the culture of "scholar" influenced by Confucianism forms the cultural basis of the formation of Qing Guan opera.This chapter provides the historical rationality for the analysis of the cultural form and aesthetic connotation of the Qing Dynasty by combing the cultural status of the Qing officials in the Taoist, political and academic "three Unification".The second chapter is devoted to combing the historical development of the meaning of the Qing Dynasty and the different cultural forms of the Qing Dynasty Opera.The meaning of Qing officials has changed three times in history, the first section of this chapter divides the three changes into three historical stages to sort out.After the drama matured, due to the difference of social background and political atmosphere, the Qing Guan drama showed different cultural color and aesthetic characteristics.The third chapter starts from the internal factor of the drama structure of the Qingguan Opera, combines the classical play and the typical image of the Qingguan Opera, and analyzes the complex character attributes of the Qingguan and the dilemma of the ideal of the Qingguan in the concrete practice.The playwright uses the unique dramatic means, will be in the reality in the contradiction conflict in the clean official difficult problem has obtained the idealized solution in the clean official drama, this has displayed the broad masses common social psychology and the good desire at the same time,It also shows the historical limitations of Qing Guan Opera including superstition, feudal morality and weakening of realistic resistance.On the other hand, the author briefly describes the aesthetic character of the opera "Beauty and decency," and draws the necessity of moving the Qingguan Opera on the contemporary stage, as well as the cultural value and practical significance of the creation of the contemporary Qingguan Opera.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I207.3

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