威县乱弹研究

发布时间：2018-03-10 14:00

本文选题：清代乱弹　切入点：威县乱弹　出处：《河北师范大学》2011年硕士论文　论文类型：学位论文

【摘要】：地方戏曲在清代被称作为乱弹,自清中期以来乱弹代替传奇成为中国戏曲的发展主流,自此中国戏曲发展到一个各地声腔争奇斗艳,民间戏曲走向历史舞台的时代。乱弹发展势头强劲,使得中国戏曲又重新回到俗文学的形态,可以看作是宋元南戏的返璞归真。乱弹不重文本而重场上演艺,自乱弹兴盛以来,中国戏曲达到了一个演艺全面成熟的阶段。而今存留在全国各地的地方剧种,大多即是清代乱弹的延续形式。威县乱弹作为河北省一个独特的地方剧种,有着自身的艺术特征。威县乱弹的表演明显带有“慷慨悲歌”的燕赵之风,其风格古朴粗犷、高亢悲壮。另外它又是一个多声腔剧种,在发展过程中吸收了各地不同的唱腔,是历史上各种声腔交流融合的一个典型例证。笔者通过查阅威县乱弹的相关资料后发现,对威县乱弹的研究大都着重于对其音乐的分析,而缺乏对它进行一个系统、整体的研究。因此,笔者在2009年春节前后,先后八次走访威县县城、业余剧团所在地—冯村、乱弹木偶戏的所在地—银边庄,对当地的艺人进行了采访并观看了威县乱弹的演出。本文即是在以田野调查的基础上,对威县乱弹的形成问题、名字来源、剧目特色、方言特征、舞台演艺进行了系统的研究与分析。论文第一章主要对清代“乱弹”一词的涵义进行了梳理,在此基础上,对威县乱弹这一名称的来源做了分析:威县乱弹即是从清代乱弹这一普通名词变为特殊名词;另考证威县乱弹来源于民间俗曲,并与浙江一带的地方戏曲有密切联系,在融合了南北各地声腔之后,发展成为一种多声腔的地方剧种。第二章的论述则是在剧本文本的参照下,着重分析威县乱弹的剧目特色。威县乱弹重老生的唱功,其剧目以披袍秉笏的历史戏居多;但也不乏上演一些生活小戏。威县乱弹所唱所演也是符合了冀南一带人民的欣赏口味。第三章比较了威县乱弹所使用的方言与通用的北方官话之间的区别,威县乱弹的咬字发音是以威县一带的方言为基础,在调值、声母、韵母上与北方官话有着明显的变化,威县乱弹发音分尖团字亦是地方方言使然。与京剧一样,威县乱弹唱词韵脚遵循“十三辙”,使用较多的即是“中东”、“江阳”、“言前”、“人辰”等辙。第四章则是探究威县乱弹的表演艺术,并把乱弹木偶戏也作为威县乱弹的一种场上演艺容纳进来。这一章重点从戏曲的演出类型、演出前的仪式膜拜、演出场次、脚色体制、程式规范、唱腔伴奏及乐队布置等方面来阐述威县乱弹的表演艺术。
[Abstract]:In the Qing Dynasty, the local opera was called "disorderly play". Since the middle of the Qing Dynasty, the local opera has replaced the legend as the mainstream of the development of Chinese opera. Since then, the Chinese opera has developed to a place where the vocal voice is competing for splendor. Folk opera moves to the era of historical stage. With the strong development momentum, Chinese opera has returned to the form of vulgar literature again. It can be regarded as the return to nature of the Southern Opera of Song and Yuan dynasties. It pays no attention to the text but the performing arts on the stage. Since the rise of the chaotic play, it can be seen as the return to nature of the Southern Opera in the Song and Yuan dynasties. Chinese opera has reached a stage of full maturity in performing arts. Nowadays, most of the local operas that remain in various parts of the country are the continuation of the chaotic play in the Qing Dynasty. As a unique local drama in Hebei Province, Weixian Tampong has its own artistic characteristics. The performance of Waixian Tampong obviously has the style of Yanzhao, which is characterized by the "impassioned Song of grief", and its style is simple and rugged. In addition, it is a kind of multivocal drama, absorbing different vocals from all over the world in the course of its development, which is a typical example of the exchange and fusion of various vocals in history. The author found that by consulting the relevant materials of Weixian disorderly bomb, I found that. Most of the research on random bombs in Weixian is focused on the analysis of its music, but it lacks a systematic and overall study. Therefore, the author visited Weixian county town eight times before and after the Spring Festival on 2009, where the amateur theater troupe is located-Feng Village. Yinbian Zhuang, the site of the dummy show, interviewed the local artists and watched the performance of the random play in Weixian. This article is based on the field investigation, to the formation problem, the source of the name, and the characteristics of the repertoire of the random play in Weixian. Dialect characteristics, stage performing arts are systematically studied and analyzed. The first chapter of the paper mainly combs the meaning of the word "random bomb" in Qing Dynasty. On this basis, it analyzes the origin of the name of "random bomb" in Weixian: Weixian tangle bomb is changed from a common term of "random bomb" to a special noun in Qing Dynasty; In addition, it is proved that the disorderly play in Weixian originated from folk folk music, and was closely related to the local opera in Zhejiang, and developed into a kind of multi-tone local opera after the combination of the different vocals from the north and south. The second chapter is based on the text of the script, focusing on the analysis of Weixian disorderly play of the characteristics of the repertoire, Weixian tangle repeat the old students' singing skills, its repertoire is mostly draped robes and Wat's historical play; But there are also some small life drama. Weixian disorderly play is also in line with the appreciation of the people of southern Hebei taste. The third chapter compares the differences between the dialect used in Weixian disorderly play and the common northern Mandarin. The pronunciation of the pronunciation of Weixian disorderly play is based on the dialect around Weixian, and has obvious changes with the northern Mandarin in terms of adjustment value, consonant, vowel and vowel. Weixian disorderly play pronunciation is also caused by local dialects. Like Beijing Opera, Weixian disorderly play rhymes follow "13 ruts", which are more often used in "Middle East", "Jiang Yang", "before speech", "Man Chen" and so on. Chapter 4th explores the performing art of random play in Weixian, and takes it into account as a kind of theatrical performance in Weixian. This chapter focuses on the type of performance of the opera, the ritual worship before the performance, the number of performances, and the character system. Program specification, singing accompaniment and band arrangement to explain the performance of Weixian random play art.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J825

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