古典戏曲净脚的研究

发布时间：2018-10-12 19:58

【摘要】：戏曲成熟的突出标志是脚色的形成,戏曲的发展和脚色的发展密不可分,探讨脚色的演化对于戏曲史的研究具有重要的理论意义,净脚在中国脚色中处于特殊的地位,因此,本文将净脚放在戏曲的发展史中,从宋杂剧始到地方戏终来探讨净脚的发展流变情况。全文共分为六个部分:第一部分:《绪论》,简述本文的选题背景和写作缘由。第二部分:《净脚的渊源》,首先理清参军、参军色、参军戏与净脚的来源并没有直接的关系。宋杂剧中的副末、副净、末尼、引戏、装孤非脚色而是杂剧色,其中杂剧色副末才是净脚的直接来源,副净、副末在宋杂剧中处于中心地位。第三部分:《净脚的形成》,元杂剧之净是戏曲脚色,在元杂剧中处于次要的配脚地位。因为是在杂剧色的基础上形成的,因此元杂剧之净在面部化妆、演出特征、扮演的人物类型方面都带上了浓厚的杂剧色色彩。其主要扮演否定型人物但是也出现了几个肯定性的人物形象。第四部分:《净脚的分化》,南戏之净和丑脚的区分不是很明显,具有“净丑合一”的特征,由于剧本体制的扩大和脚色自身的发展,净丑逐渐分工,传奇之净分化出副脚,其中净的正剧化标志着净脚分化的完成。传奇之净依然处于次要的配脚地位,主要扮演具有独特气质的人物类型,可以分为正面的性情豪放之英雄和反面的大奸大恶之人。折子戏的形成,使得净脚有机会成为一出戏的主脚,逐渐成为和生旦齐驱并驾的脚色。第五部分:《净脚的发展》,脚色制对地方戏的发展具有决定作用,因此根据引入、采用脚色制的不同,打破剧种、地域限制,将地方戏划分为不同的类型。在地方戏中净脚的发展并不不平衡,且净脚在地方戏中的命名情况也非常繁杂,净脚的命名存在大量名同实异、名异实同以及剧种特有的状况,应该打破字面意思从脚色职能出发来将其归类。第六部分:《余论》,从纵向、横向两个方面具体的阐述净脚的发展流变情况。
[Abstract]:The outstanding sign of the maturity of the opera is the formation of the character, the development of the opera and the development of the character are inseparable. It is of great theoretical significance to discuss the evolution of the character of the foot for the study of the history of the opera, and the net foot is in a special position in the Chinese character. This article puts the clean foot in the development history of the opera, from the beginning of the Song Dynasty to the end of the local opera to discuss the evolution of the development of the pure foot. The thesis is divided into six parts: the first part: introduction. The second part: the Origin of net feet. First, there is no direct relationship between the origin of enlistment, enlistment and play. In the Song Dynasty dramas, the secondary end, the second net, the Money, the introduction of the play, the play color, but the play color, in which the play color is the direct source of the net foot, the auxiliary net, the secondary end in the Song Dynasty drama in the central position. The third part: the formation of the Pure foot, Yuan Zaju is the character of the opera and plays a secondary role in the Yuan Zaju. Because it is formed on the basis of zaju color, the Yuan Zaju net in facial makeup, performance features, the type of characters played with a strong zaju color. It mainly acts as a negative character, but there are also several positive figures. The fourth part: "the differentiation of the clean feet", the distinction between the net and the ugly feet of the Southern Opera is not very obvious, it has the characteristic of "the unity of the net ugliness". Due to the expansion of the script system and the development of its own character, the net ugliness is gradually divided into the division of labor, and the legendary net differentiates the accessory feet. Among them, the net juxtaposition marks the completion of the differentiation of the net feet. Saga is still in the secondary position, mainly playing a unique character type, can be divided into positive and bold hero and negative villain. The formation of Chuanzi Opera, so that the net foot has the opportunity to become the main foot of a play, and gradually become the same as the driving foot. The fifth part: "the development of clean feet", the character color system has the decisive function to the development of the local drama, therefore according to the introduction, uses the foot color system different, breaks the drama kind, the region limit, divides the local drama into different types. The development of net foot in local opera is not unbalanced, and the naming of net foot in local play is very complicated. It should be broken down from the literal function of the foot to classify it. In the sixth part, the author expounds the development and development of the net foot from two aspects: vertical and horizontal.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J809.2

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