唐宋滑稽戏研究

发布时间：2018-08-12 16:24

【摘要】：唐宋滑稽戏是中国传统戏剧发展中承上启下的关键节点,亦是一种独具特色的戏剧形式。本文以唐宋时期的滑稽戏为主要研究对象,系统阐述了滑稽戏的形成以及唐宋滑稽戏的主要形式,对梵语笑剧与唐宋滑稽戏进行比较研究,并考察了唐宋滑稽戏的兴起对戏剧观念的形成所产生的影响。唐宋滑稽戏在继承先秦俳优传统的基础上,受到域外表演艺术的深刻影响,是华夏文明自身所孕育以及印度、西域输入的文化艺术共同作用下的产物。滑稽戏在唐宋时期发展为主流表演艺术,已具备角色扮演和表演故事的戏剧本体,亦融合说白和歌舞,体现出综合性的表演特征,它未能成长为戏剧文学,但始终是一种扎扎实实的戏剧实践活动,在技艺与观念层面为南戏和北杂剧的兴起奠定了基础。论文第一章着重论述影响滑稽戏形成的三个因素。古优诙谐的语言和滑稽的形体动作,以及综合说、乐、歌、舞的表演传统为唐宋滑稽戏所继承,而先秦形成的优谏亦成为滑稽戏所秉承的核心价值和精神。佛教入华开启了民间俗文化的繁荣,成为戏剧形成的契机。随佛教进入中国的供养音乐、胡戏和域外俳优为中国传统的滑稽表演注入新的形式和内容,推动了戏剧表演的形成。唐宋滑稽戏在发展的过程中形成了密切的传承关系,因此第二章没有以朝代划分,而是选择踏谣娘、参军戏、傀儡戏和宋金杂剧等四种最具代表性的滑稽戏形式分别进行考述,逐一勾勒出完整轮廓,以此构建唐宋滑稽戏的大体样貌和演化过程。唐宋时期的滑稽戏是恣肆的、自由的、充满创造力,它兼具思想性和娱乐性,将表演艺术推向了崭新的高度。在纵向的时空中考察唐宋滑稽戏发展的同时,与邻国戏剧实践的横向比较拓宽了研究视野。第三章考察笑剧与唐宋滑稽戏在讽刺对象、表演套路和戏剧形态上的异同。在东方戏剧的框架之下,对唐宋滑稽戏表演形式、形成和演进过程形成更完整清晰的认识。同时通过比较研究,探讨了二者之间可能存在的联系。戏剧实践与戏剧观念处于一种伴生的状态,相互作用,相辅相成。中国传统戏剧的兴起与发展,伴随着观念的演进。随着戏剧实践的深化,戏剧观念渐趋清晰;戏剧观念的确立又成为实践壮大的思想基础。基于上述认识,第四章论述了唐宋滑稽戏与戏剧观念形成之间的互动关系。由前戏剧观念时期的摹仿和角色扮演,到唐宋滑稽戏表演故事的普遍化,梳理中国古代戏剧观念的形成和变迁,分析滑稽戏对戏剧观念形成的重要作用。滑稽表演到滑稽戏的形成穿起了中国戏剧早期发展的一条主线,而唐宋时期滑稽戏的繁荣则直接孕育了南戏、北杂剧等成熟的戏剧形式。变化是永恒不变的真理。在戏剧实践中,表演内容和形式在演进,戏剧观念也渐趋深化。本文在考察唐宋滑稽戏不断变化的戏剧实践的同时,将其与同时代邻国的戏剧形式相比较,全面勾勒出中国戏剧发展的一条重要线索。这一研究课题为呈现更全面复杂的中国戏剧史提供了一个可供深入探索的视角,使戏剧史研究更加多元化、立体化。
[Abstract]:Tang-Song comedy is the key link between the preceding and the following in the development of traditional Chinese drama, and it is also a unique form of drama. This paper takes the comedy of Tang-Song period as the main object of study, systematically expounds the formation of comedy and the main forms of Tang-Song comedy, and makes a comparative study of Sanskrit comedy and Tang-Song comedy. On the basis of inheriting the tradition of pre-Qin Haiyou, Tang-Song comedy was deeply influenced by extraterritorial performing arts. It was the product of the Chinese civilization itself and the culture and art imported from India and the Western Regions. Performing art, which has the drama noumenon of role-playing and story-telling, also integrates vernacular and singing and dancing, reflects the comprehensive performance characteristics. It has not grown into drama literature, but has always been a solid drama practice, laying the foundation for the rise of Southern and Northern Dramas in terms of skills and concepts. This paper discusses three factors influencing the formation of comic operas. The ancient comic language and comic body movements, as well as the performance traditions of music, song and dance, are inherited by the comic operas of Tang and Song Dynasties. The exhortation formed in the pre-Qin Dynasty has become the core value and spirit of comic operas. As Buddhism entered China to support music, Hu opera and foreign comedians injected new forms and contents into traditional Chinese comic performances, and promoted the formation of theatrical performances. Four most representative forms of comedy, such as drama and Zaju of the Song and Jin Dynasties, were studied and outlined one by one in order to construct the general appearance and evolution process of the comedy of the Tang and Song Dynasties. The third chapter examines the similarities and differences between the comedy and the comedy of Tang and Song Dynasties in the object of satire, performing routines and theatrical forms. At the same time, through the comparative study, this paper probes into the possible relationship between the two. Drama practice and drama concept are in a concomitant state, interacting and complementing each other. Based on the above understanding, the fourth chapter discusses the interactive relationship between Tang-Song comedy and the formation of theatrical concepts. From the imitation and role-playing in the pre-theatrical concept period to the popularization of the performance stories of Tang-Song comedy, it combs the formation and change of ancient Chinese theatrical concepts and analyzes the slippery. Funny performance to the formation of funny play played a main role in the early development of Chinese drama, while the prosperity of the Tang and Song Dynasty funny play directly gave birth to mature drama forms such as Southern Opera and Northern Zaju. The concept of drama is also deepening. While examining the changing dramatic practices of the Tang and Song Dynasties, this paper compares them with the dramatic forms of neighboring countries at the same time and outlines an important clue to the development of Chinese drama. This research topic provides a perspective for further exploration in presenting a more comprehensive and complex history of Chinese drama. The angle makes the study of drama history more diversified and stereoscopic.
【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】：2017
【分类号】：J827

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