百年同乐—从一个民间壮剧团看现代化背景下的传统艺术

发布时间：2018-06-14 23:57

本文选题：北路壮剧 + 民间壮剧团　；参考：《广西民族大学》2009年硕士论文

【摘要】： 历史源自生活,艺术是生活的沉淀。以往壮剧研究注重壮剧艺术发展的高度,尤其偏爱专业壮剧团的艺术研究,只见材料,听不见北路壮剧赖以生息繁衍的民间壮剧团的“声音”。实际上民间壮剧团是北路壮剧传承与发展的组织者、实践者,见证北路壮剧兴衰沉浮的目击者,北路壮剧研究应该俯身向下细细地听一听他们的“声音”,从源头处探寻它的现代化之路。本文运用历史学与人类学的理论和知识,以一个成立于清朝同治十年(1871年)的民间壮剧团—田林县利周瑶族乡百达村同乐班(解放后改称百达业余壮剧团)为研究对象,采用文献调查和田野调查相结合的方式生动地再现了同乐班的历史,阐述了同乐班的壮剧艺术内涵并通过纵向对比、横向对比、文献与事实对比的方式探讨了同乐班壮剧艺术的传承与发展。通过研究,笔者以为同乐班发展的核心动力来自于百达人根深蒂固的民间信仰和百达人对村寨内聚力展示的渴望以及传统艺术本体的魅力吸引。同乐班以百达人特有的方式表现他们的思想与生活,在时代进程中,不断调整自己的脚步,以满足百达人的需求,是百达人最“出彩”的集体记忆。当传统艺术滞后于时代,在现代化进程中迷失方向的时候,需要外界的力量来唤醒它的文化自觉。将传统艺术再次内化为地方精神,与时俱进,推动传统艺术的复苏和可持续性发展,以实现“各美其美,美美与共”多元文化互存共荣。
[Abstract]:History originates from life, and art is the precipitate of life. In the past, the research of Zhuang opera paid attention to the height of the development of the arts of Zhuang opera, especially favored the artistic research of the professional Zhuang opera troupe, and saw only the materials, but could not hear the "voice" of the folk Zhuang opera troupe on which Beilu Zhuang opera thrived. In fact, the folk Zhuang Drama Troupe is the organizer and practitioner of the inheritance and development of Beilu Zhuang Opera, and a witness to the rise and fall of Beilu Zhuang Opera. The study of Beilu Zhuang Opera should bow down and listen to their "voice." Explore its modernization road from the source. Based on the theory and knowledge of history and anthropology, this paper studies a folk Zhuang opera troupe founded in Tongzhi decade of Qing Dynasty (1871)-Tongle class of Baida Village in Lizhou Yao nationality Township of Tianlin County (renamed Baida Zhuang Amateur Drama Troupe after liberation). Through the combination of literature investigation and field investigation, this paper vividly reproduces the history of Tongle class, expounds the artistic connotation of Zhuang opera in Tongle class and compares it horizontally through longitudinal comparison. This paper discusses the inheritance and development of the art of Tongle Banzhuang Drama by comparing the literature with the facts. Through the research, the author thinks that the core motive force of the development of Tongle class comes from the deep-rooted folk belief of the Baida people, the desire of the Baida people to show the cohesion of the village and the charm attraction of the traditional art ontology. The music class expresses their thoughts and lives in a unique way. In the process of the times, they constantly adjust their own steps to meet the needs of the Baida, which is the most outstanding collective memory of the Baida. When the traditional art lags behind the times and loses its direction in the process of modernization, it needs external forces to awaken its cultural consciousness. The traditional art should be internalized into the local spirit again, keep pace with the times, promote the revival and sustainable development of the traditional art, so as to realize the "beauty of each beauty, beauty of beauty and co-existence and mutual prosperity of multiculturalism".
【学位授予单位】：广西民族大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J825

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