京剧老生流派崛起的社会心理研究

发布时间：2018-06-15 08:27

本文选题：京剧 + 老生流派　；参考：《中国艺术研究院》2009年博士论文

【摘要】： 社会心理反映一定时期社会审美风尚及其人们审美趣味的变迁和审美理想的追求。十八世纪末、十九世纪初,京师舞台以程长庚为代表的“前三杰”和以谭鑫培为代表的“后三杰”京剧老生流派次第崛起并且独领风骚,由此开创了京剧史上以老生行为代表的沉郁刚健风格流派和感伤美风格流派。两种不同风格表演流派的演进不仅反映了社会审美风尚的变化,而且表征了京剧老生流派与近代鼎革历史语境下的社会心理变迁的一种直接联系。鸦片战争,西方的坚船利炮打开了国门,但是,其冲击力并没有使中国传统的社会政治经济结构崩溃,受“天朝中心”偏狭认知的影响,整个社会沉浸在“华夷大防”的理念中不能自拔,农耕文明固有的“英雄救世”、“忠君报国”等观念,成为这一时期主要的社会心理诉求。在这种历史大背景下,以程长庚为代表的“前三杰”适时地回应了时代、社会的诉求,他们以历史大戏为载体,在京师舞台塑造了一批举止凝重、刚健硬朗的老生行艺术形象,“黄钟大吕”的唱腔旋律开启京剧老生流派沉郁刚健艺术风格之流派。甲午战争后,连续的战争赔款议和在充分暴露统治者软弱无能的同时,对民族自信心也给予沉重的打击,失望、感伤和怨愤的社会情感四处弥漫。国人开始理性的思考这场具有“前全球化”意义的战争。从艺术思潮看,这一时期产生了质疑封建政治文化制度的谴责小说、反映晚清军事指挥官畏惧逃跑的战争小说;出现了表现对清政府失望、对现实愤懑的诗歌,以及反映战争带给人们苦难的词曲杂剧等等。诸如此类的艺术作品无不折射出“英雄不再”的时代感伤。京剧第二代老生流派代表谭鑫培,以其苍凉感伤的音乐旋律、“英雄失意”剧目及其戏剧符号等审美选择和艺术创作,在构筑感伤美艺术风格主体的同时,它带着时代感伤、怨愤的烙印,与历史文化语境下的诗歌、小说、戏曲等一起体现了一个时代民众的生存状态和文化心理走向。而民族文化心理深层结构中对铁肩担道义的士人形象、文质彬彬的君子人格的审美理想和审美价值的崇尚,无疑使京剧老生流派的崛起具有丰富的文化底蕴和社会心理的历史积淀。近代社会心理变迁对京剧流派的影响是深刻而全面的。换言之,社会心理不但影响了京剧行当、流派的兴起及其演变,也影响了流派在剧本、音乐甚至化装等方面创作风格的形成,同时对于观众的审美接受心理、传播心理也产生着极大的影响。
[Abstract]:Social psychology reflects a certain period of social aesthetic fashion and the change of people's aesthetic taste and the pursuit of aesthetic ideal. At the end of the 18th century and the beginning of the nineteenth century, the "first three heroes" represented by Cheng Changgeng and the "latter three heroes" represented by Tan Xinpei, the old school of Peking opera, rose second and were dominant. From this, it started the melancholy vigorous style school and the sentimental beauty style school represented by the old life behavior in the history of Beijing Opera. The evolution of two different styles of acting schools not only reflects the change of social aesthetic style, but also represents a direct connection between the old school of Beijing Opera and the social psychological change in the historical context of the modern dynastic revolution. In the Opium War, the strong ship and sharp guns of the West opened the door of the country, but its impact did not cause the collapse of China's traditional social, political and economic structure, and was influenced by the narrow perception of the "Chinese center". The whole society is immersed in the idea of "Huayi great defense". The concepts of "saving the world by heroes" and "serving the country", which are inherent in farming civilization, have become the main social and psychological demands in this period. Against this background of history, the "first three heroes", represented by Cheng Changgeng, responded to the demands of the times and society in a timely manner. They took the historical drama as the carrier and created a group of dignified and vigorous old students performing art images on the stage of the capital teachers. The singing melody of Huang Zhong Da Lu opens the school of Beijing Opera's old school of art. After the Sino-Japanese War, the successive war reparations and negotiation fully exposed the weak and incompetent rulers, at the same time gave a heavy blow to the national self-confidence, disappointment, sadness and resentment of the social feelings pervaded everywhere. Chinese people began to think rationally about this war with the meaning of "pre-globalization". From the perspective of artistic trend of thought, this period produced condemnation novels that questioned the feudal political and cultural system, reflecting the war novels of the late Qing military commanders who feared to flee, and appeared poems that expressed disappointment with the Qing government and resented the reality. As well as reflecting the war brought people suffering, poetry and drama, and so on. Such works of art all reflect the "hero no longer" sentimental times. The second generation of Beijing Opera, which represents Tan Xinpei, with its desolate music melody, "Hero frustrated" drama and its dramatic symbols and other aesthetic choices and artistic creation, in the construction of sentimental aesthetic art style of the main body, it is with the era sentimental. The imprint of grievance, together with the poetry, novel and drama in the context of history and culture, embodies the living state and cultural psychological trend of the people of a time. In the deep structure of the national culture psychology, the image of the scholars, the elegant personality of the gentleman, the aesthetic ideal and the appreciation of the aesthetic value, Undoubtedly, the rise of the old school of Peking Opera has rich cultural background and historical accumulation of social psychology. The influence of modern social and psychological changes on the school of Beijing Opera is profound and comprehensive. In other words, social psychology not only affected the rise and evolution of the Beijing Opera genre, but also affected the formation of the genre's creative style in terms of script, music and even makeup, and at the same time, the aesthetic acceptance psychology of the audience. Communication psychology also has a great impact.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2009
【分类号】：J821

【引证文献】