东路二人台的现状调查与研究

发布时间：2018-04-04 04:15

本文选题：东路二人台　切入点：现状　出处：《河北师范大学》2009年硕士论文

【摘要】： 2006年6月,国务院公布了首批国家级非物质文化遗产名录,二人台作为戏曲类非物质文化遗产名列其中(序号为217)。既为“文化遗产”,一方面说明它具有很高的文化价值;另一方面也说明,二人台艺术面临着生存的危机。二人台是晋陕冀移民“走口外”而形成的以汉族艺人为主体,同时吸收一些游牧民族文化,间有少数蒙古族艺人参与的农耕文化艺术,它属于移民文化。二人台是融民歌、舞蹈、曲艺、牌子曲、戏曲为一体的综合艺术,有西、东路之分。西路二人台主要流行于内蒙古中西部呼和浩特、包头、巴彦淖尔、鄂尔多斯、乌海市并晋陕冀宁(晋北、陕北、冀北、银北)五省区;东路二人台则以内蒙古自治区乌兰察布市为中心,同时流行于晋北,冀北等地。西、东路二人台的流行地域覆盖90多个县旗,1500多万人口。从所翻阅到的资料中发现,研究中国地方音乐的国内外学者对二人台的研究层出不穷,但相比较而言,东路二人台研究比西路二人台的研究略显逊色。本文另辟蹊径,力图深刻挖掘东路二人台独特的艺术魅力,为保护和传承这一民间艺术形式提供基本的理论依据。全文分为三大部分。第一大部分从东路二人台这一地方小戏形成的历史背景入手探讨东路二人台艺术的形成与发展以及现状情况,从文化视角的角度对东路二人台艺术进行研究。东路二人台经过上百年无数民间艺人的加工创造,由民歌小曲儿、打坐腔、打玩艺儿、抹帽戏发展成了现在这样一个比较完美的艺术形式和独特风格的地方剧种。但是,目前的状况是东路二人台艺术发展呈下降趋势,急需拯救。第二大部分是东路二人台的音乐概述,从旋律特点、演唱特点、伴奏乐器、唱词句式及语言形式来全面分析东路二人台这扎根于泥土之中的草根文化艺术之魅力。经过上百年的发展,东路二人台己经形成了独具风格的演唱特点;以枚、四胡和扬琴为主奏乐器;演唱语言生动、形象、风趣诙谐具有鲜明的地方特色,其中还不乏元杂剧精辟语言的存在。本部分从多角度探究东路二人台的音乐特点,深层挖掘它的艺术内涵。第三大部分通过调查研究,深入探讨如何对东路二人台进行传承与发展。笔者认为,要想发展东路二人台这个具有浓郁的地区特色的地方剧种,需要创编有代表性的现代剧目;重视东路二人台青年演员的培养;成立东路二人台艺术发展研究所;在继承东路二人台艺术特点的基础上发展创新,把继承与创新有机地结合,让“东路二人台”再现辉煌。东路二人台是土生土长的地方小戏,是广大劳动人民自己创造出来的,是劳动人民集体智慧的结晶。研究东路二人台对抢救我国非物质文化遗产,促进民族团结,活跃僻远地区群众文化生活具有十分重要的意义。
[Abstract]:In June 2006, the State Council published the first batch of national intangible cultural heritage list.On the one hand, it shows that it has high cultural value; on the other hand, it also shows that the art of Errentai is facing the crisis of survival.Errentai is a kind of farming culture and art formed by the immigrants of Shanxi, Shaanxi and Hebei, which is composed of Han nationality artists, some nomadic culture and a few Mongolian artists, which belongs to the immigrant culture.It is a comprehensive art of folk song, dance, quyi, brand music and opera, which is divided into west and east road.The Xilu two-person station is mainly popular in five provinces of Huhhot, Baotou, Bayannur, Ordos, Wuhai and Jinshan-Jianning (north of Shanxi, north of Shaanxi, north of Hebei, and north of silver) in central and western Inner Mongolia.East Road two-person platform to Inner Mongolia Autonomous region Wulanchabu as the center, and popular in northern Shanxi, Hebei and other places.The West, East Road, two-person station covers more than 90 counties with a population of more than 15 million.It is found from the data that the domestic and foreign scholars who study local music in China have been studying the two-person station in endlessly, but comparatively speaking, the study of Donglu two-person station is slightly inferior to that of the west road two-person station.This paper tries to explore the unique artistic charm of the East Road and provide the basic theoretical basis for the protection and inheritance of this folk art form.The paper is divided into three parts.The first part discusses the formation, development and current situation of Donglu two-person stage art from the historical background of the formation of Donglu two-person stage, and studies the Donglu two-person stage art from the perspective of culture.After hundreds of years of processing and creation by countless folk entertainers, Donglu two-person stage has developed from folk songs, sit-ins, play, and hat dramas into such a relatively perfect art form and unique style of local drama.However, the current situation is the East Road two-person Taiwan art development is declining trend, urgent rescue.The second part is an overview of the Donglu Er-Man stage, from the characteristics of melody, singing characteristics, accompaniment instruments, lyric sentences and language form to comprehensively analyze the Donglu Errentai, which is rooted in the clay grass root culture and art charm.After more than a hundred years of development, the two people in Donglu have formed a unique style of singing characteristics. They play musical instruments mainly on the Mui, Sihu and yangqin. The singing language is vivid, vivid, and witty and witty has distinctive local characteristics.Among them, there is no lack of Yuan zaju brilliant language.This part probes into the music characteristics of Donglu two-person station from many angles, and excavates its artistic connotation deeply.The third part through investigation and research, discusses how to carry on the inheritance and the development to the East Road two-person platform in depth.The author believes that in order to develop East Road Er-Ren stage, which has rich regional characteristics, it is necessary to create a representative modern repertoire, attach importance to the cultivation of young actors in Donglu Er-ren stage, and establish the Donglu Er-Ren Taiwan Art Development Institute.On the basis of inheriting the artistic characteristics of Donglu Er-Ren Tai, the author develops innovation, organically combines inheritance with innovation, and makes "Donglu Er-Ren Tai" to reproduce its brilliance.Donglu two-person stage is a local drama, created by the working people themselves, the crystallization of the collective wisdom of the working people.The study of Donglu two-person station is of great significance for rescuing our country's intangible cultural heritage, promoting national unity, and activating the cultural life of the masses in remote and remote areas.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J825

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