传统二人转与新型二人转的对比研究

发布时间：2018-08-26 12:38

【摘要】：二人转又名蹦蹦、小秧歌等,是东北人民喜闻乐见的,具有浓郁地方色彩的的民间艺术,是东北民间文化的瑰宝。它有着三百多年的发展历程,形成了可以与南方的昆曲、黄梅戏等传统的曲艺相媲美的独特的表演艺术形式。过去东北人民有“宁舍一顿饭,不舍二人转”的俗语,在部分戏曲萧条衰落的今天,二人转剧场依旧遍布广泛,为人民所喜爱与追捧,无疑已经成为东北地区的一个文化符号。经过整理与查阅资料,笔者发现对二人转的研究大多围绕起源、现状、唱词曲牌等方面进行,而对传统二人转与新型二人转的对比分析则寥若星辰,本文将二者进行详细梳理与研究并分五个主干章节进行论述,第一章“东北二人转的起源”笔者整理了关于二人转起源的几种说法,并提出了自己的观点,第二章“传统二人转的发展与演变”笔者运用文献法纵向以时间为线索阐述传统二人转的发展脉络与历史,第三章“新型二人转演出形态”运用文献法和田野调查法探索新型二人转的表演形式与艺术形态,其中记录了笔者去“刘老根大舞台”、“桃李梅大剧院”观看演出的真实情况,并横向将其与传统二人转从“唱扮舞说绝”五个方面进行对比研究,第四章“万变不离其宗的二人转”的笔者经过对比研究发现当今二人转虽然在表演形态上发生了变化,但二人转的精髓未变,并分为两个部分例证,一、一旦一丑的“咱俩”演出形式没变。二、娱乐性主题没变。第五章“二人转发展之我见”,笔者对当今二人转形态与境遇进行思考,包括其存在的问题与变化等,存在问题的论述分为五个方面,一是当今二人转的演出内容“假”,不能真实反映当今农民生活,二是个别演出内容存在“黄粉段子”,较为庸俗,三是丑角艺术并非丑陋,它是二人转的精髓表现形式,不该仅以“丑陋”的表演哗众取宠,四是创作枯萎,好作品无人演,观众、作曲家和演员三者陷入恶性循环。五是娱乐趣味取代教化主题,传统二人转的唱段内容对农民普及地理、历史等文化知识,娱乐的同时还具有教化意义,而当今二人转仅保留了娱乐性。
[Abstract]:The folk art with strong local color is the treasure of northeast folk culture. It has a history of more than three hundred years and has formed a unique form of performing art which can be compared with the traditional qu arts such as Kunqu Opera and Huangmei Opera in the South. In the past, the people of Northeast China had the saying "one meal rather than one meal". Today, when part of the opera is depressed and declining, Errentuo Theatre is still widespread and popular with the people. It has undoubtedly become a cultural symbol of the Northeast region. After sorting out and consulting data, the author found that the study of Errenxun mostly revolved around the origin, current situation, singing words and songs, and so on, while the comparative analysis of the traditional Errenxun and the new Errenzhuan is just like stars. This paper combs and studies them in detail and discusses them in five main chapters. The first chapter, "the Origin of Northeast Errenhuan", the author arranges several kinds of statements about the origin of Errenhuan, and puts forward his own views. In the second chapter, "the development and evolution of the traditional two-person rotation", the author uses the literature method to explain the development and history of the traditional two-person rotation with time as the clue. The third chapter "the new type of two-person performance form" uses the literature method and the field investigation method to explore the performance form and the artistic form of the new-type errenzhuan, in which the author goes to the "Liu Laogen big stage". "Taoli Mei Grand Theater" the true situation of the performance, and horizontally compared with the traditional two people from the "singing and dancing said absolutely" five aspects of the comparative study. The author of the fourth chapter, "the change of everything", through comparative study, found that although the performance form of Errenhuan has changed, the essence of Errenzhuan has not changed, and it is divided into two parts of examples. Once an ugly "us" performance is the same. Second, the theme of entertainment has not changed. In the fifth chapter, "my opinion on the Development of Errenzhuan", the author thinks about the form and circumstances of Errenhuan, including its existing problems and changes. The exposition of the existential problems is divided into five aspects: the first is the "fake" performance content of the present Errenzhuan. It cannot truly reflect the life of today's peasants. Second, there are "yellow pink jokes" in individual performances, which are vulgar, and third, the clown art is not ugly, it is the quintessence of the two-person revolution, and it should not be used only as "ugly" performing grandstanding. Fourth, creation withered, good works unperformed, audience, composer and actor into a vicious circle. Fifth, entertainment is the substitute for the theme of education, the traditional singing of the two people to popularize geography, history and other cultural knowledge, entertainment at the same time also has the significance of enlightenment, but today's Errenzhuan only retained the entertainment.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J825

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