华县皮影戏的民俗文化研究
发布时间：2018-07-29 16:12
【摘要】：华县皮影属陕西东府皮影，是深受当地“草根群体”喜闻乐见的一种艺术形式。本文以华县雨田社为采访基点，以潘京乐、潘新红、魏金权、刘兴文等艺人为调查对象，在口头程式理论与表演理论的指导下，并结合文献法和田野作业法，对华县皮影戏的民俗文化进行较为系统的考察。 华县皮影戏凭借着得天独厚的地理、人文和历史环境，在中国影戏中占据着重要地位。华县皮影戏的演出是一种高度的程式化展演，然而每次的展演都有着“即时性”与“创造性”的发挥。皮影戏的展演不是孤立的，它需要事件、行为、角色等众多因素共同促成，而表演者、观众、参与者只是构成表演的一部分，表演者通过展演将诸多因素相结合，特别是通过“人”与“物”的完美结合来展现“雅”与“俗”的更变，以此让俗民们在观看表演的同时，得到精神上的满足与内心的愉悦。舞台上，，影人幽默、诙谐、风趣的表演，实现了它从“死”到“生”的“活化”，并延伸了它的艺术魅力。透过表象而看，皮影戏的整个展演过程中，无论是戏台搭建、分工协作，还是影偶造型、声腔音乐无不体现着程式化的浸染，尽管程式中也流露着随意性，但这正是民间影戏特殊性的体现，从而更有利于挖掘背后隐藏的民俗文化事项。 华县皮影植根于广阔的乡村土壤中，因此它的演出活动与这里多种多样的民俗活动息息相关。影戏由于受俗民们“吉祥观念”的影响，其自身也在逐渐的变化与发展，并从相关的姊妹艺术中汲取适合自己发展的精华。正是有了这样的改进，影戏满足了俗民们更多方面的“需求”，甚至成了乡村民俗生活的一部分。但同时,它在各种民俗活动中也呈现出了“特殊性”，文中就皮影戏的巫术功能、心理调适功能、娱乐审美功能和教育教化功能四个方面对皮影戏的民俗文化功能进行阐释，以揭示皮影戏对俗民们的内心、情绪、精神等方面的广泛影响。 鉴于华县皮影频临灭绝的现状，使我们不得不对这一民间古老艺术的传承与保护问题进行关注与思考。
[Abstract]:Huaxian Shadow belongs to Shanxi Dongfu Shadow, which is a popular art form. This paper takes Yutian Society of Huaxian County as the basic point of interview, takes Pan Jingle, Pan Xinhong, Wei Jinquan and Liu Xingwen as the objects of investigation, under the guidance of the theory of oral procedure and the theory of performance, and combines the method of literature and field work. The folk culture of shadow play in Huaxian is systematically investigated. Huaxian shadow play occupies an important position in Chinese shadow play by virtue of its unique geographical, cultural and historical environment. The performance of shadow play in Huaxian is a kind of highly stylized performance, however, each show has the exertion of "immediacy" and "creativity". The performance of shadow play is not isolated. It needs many factors, such as events, behaviors, roles, etc. The performers, the audience and the participants are only part of the performance, and the performers combine many factors through the show. Especially through the perfect combination of "man" and "thing" to show the change of "elegance" and "vulgarity", so that the vulgar people can get spiritual satisfaction and inner pleasure while watching the performance. On stage, the moviegoers' humorous, witty and witty performances realize its "activation" from "death" to "life", and extend its artistic charm. From the perspective of appearance, throughout the performance process of shadow play, whether it is stage building, division of labor and collaboration, or even shadow couple modeling, vocal music reflects stylized immersion, although the program also shows randomness. However, this is the embodiment of the particularity of folk drama, which is more conducive to excavating the hidden folklore cultural issues. Huaxian shadow is rooted in the vast rural soil, so its performance is closely related to a variety of folklore activities here. Influenced by the "auspicious concept" of the common people, the film drama itself is gradually changing and developing, and drawing the essence suitable for its own development from the related sister art. With such improvement, the film plays meet the needs of the people in more ways and even become a part of rural folk life. But at the same time, it also presents "particularity" in various folklore activities. In this paper, the folk culture function of shadow play is explained in four aspects: witchcraft function, psychological adjustment function, entertainment aesthetic function and educational function. In order to reveal the widespread influence of shadow play on the hearts, emotions, spirits and other aspects of the common people. In view of the present situation that shadow is dying out frequently in Huaxian, we have to pay attention to and think about the inheritance and protection of this ancient folk art.
【学位授予单位】：青海师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J827
[Abstract]:Huaxian Shadow belongs to Shanxi Dongfu Shadow, which is a popular art form. This paper takes Yutian Society of Huaxian County as the basic point of interview, takes Pan Jingle, Pan Xinhong, Wei Jinquan and Liu Xingwen as the objects of investigation, under the guidance of the theory of oral procedure and the theory of performance, and combines the method of literature and field work. The folk culture of shadow play in Huaxian is systematically investigated. Huaxian shadow play occupies an important position in Chinese shadow play by virtue of its unique geographical, cultural and historical environment. The performance of shadow play in Huaxian is a kind of highly stylized performance, however, each show has the exertion of "immediacy" and "creativity". The performance of shadow play is not isolated. It needs many factors, such as events, behaviors, roles, etc. The performers, the audience and the participants are only part of the performance, and the performers combine many factors through the show. Especially through the perfect combination of "man" and "thing" to show the change of "elegance" and "vulgarity", so that the vulgar people can get spiritual satisfaction and inner pleasure while watching the performance. On stage, the moviegoers' humorous, witty and witty performances realize its "activation" from "death" to "life", and extend its artistic charm. From the perspective of appearance, throughout the performance process of shadow play, whether it is stage building, division of labor and collaboration, or even shadow couple modeling, vocal music reflects stylized immersion, although the program also shows randomness. However, this is the embodiment of the particularity of folk drama, which is more conducive to excavating the hidden folklore cultural issues. Huaxian shadow is rooted in the vast rural soil, so its performance is closely related to a variety of folklore activities here. Influenced by the "auspicious concept" of the common people, the film drama itself is gradually changing and developing, and drawing the essence suitable for its own development from the related sister art. With such improvement, the film plays meet the needs of the people in more ways and even become a part of rural folk life. But at the same time, it also presents "particularity" in various folklore activities. In this paper, the folk culture function of shadow play is explained in four aspects: witchcraft function, psychological adjustment function, entertainment aesthetic function and educational function. In order to reveal the widespread influence of shadow play on the hearts, emotions, spirits and other aspects of the common people. In view of the present situation that shadow is dying out frequently in Huaxian, we have to pay attention to and think about the inheritance and protection of this ancient folk art.
【学位授予单位】：青海师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J827
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