海州童子戏的调查与研究
发布时间：2018-11-17 13:47
【摘要】： 海州童子戏是傩戏的一支,主要流行于连云港市、沭阳县、涟水县及其周边地区。童子戏也称童子会、童子书或香火神会等,其源流存在着诸多争议。自二十世纪八十年代戏曲普查活动以来,海州童子戏受到了较多关注,许多学者和文化工作者纷纷投入到海州童子戏的研究工作中来。 本文从抢救和保护非物质文化遗产的角度出发,通过对文献资料和田野调查资料的整理和研究,结合民族学、社会学、民俗学及宗教学等学科的知识,运用比较研究的方法,对海州童子戏的发展、演出体制、舞台表演、剧目剧本、班社艺人以及现状与前景做较为详尽的阐述。 海州童子戏的产生和发展,是与连云港独特的地理位置和地域文化密不可分的,它是在与连云港独特的演艺文化传统、民俗信仰的逐渐融合、互相促进的过程中慢慢成熟起来的。海州童子戏的整个祭祀过程本身就是民俗活动,它是一部浓缩的民俗史。“巫”文化是海州童子戏形成与发展的重要根基,海州童子戏的起源与巫有着密切联系。 海州童子戏“烧猪”祭祀仪式的演出,具有浓郁的地方特色。它包括铺坛、开坛、请亡、踩箔子、安坐、过桥、砍刀、升文、送神、收坛等十个关目。每个祭祀关目表演完之后,都伴有热闹的戏剧演出,分正戏和本戏两种。正戏是祭祀仪式剧,本戏则是除去祭祀仪式剧之外在祭祀仪式当中所表演的其它剧目。 童子戏属高腔系统,是单一声腔的地方剧种,其唱腔质朴粗犷,运用本地方言演唱,因此邀其表演的是当地的老百姓。陈家班、王家班和刘家班等“海里童子”的班社是由清代俞童子传下来的,另外还有曹家班、佘家班、陈家班和王家班等“南山童子”的班社。海州童子戏的大部分艺人都已过世,只有曹秀之和曹艳玲父女两人尚能提供关于此戏比较原始的演出资料。 海州童子戏到建国前夕日渐衰退,许多童子戏艺人纷纷改演淮海戏,政府部门对其采取了一些保护措施,但仍需正确的引导以及更进一步的资料调查与研究,还可以借鉴南通童子戏寻求的发展出路,从根本上改善海州童子戏衰落的局面,达到演出和观众两方面的共同普及和提高。
[Abstract]:Tongzi Opera of Haizhou is one of Nuo operas, which is popular in Lianyungang, Shuyang, Lianshui and its surrounding areas. Children's play is also known as Boy Scouts Club, Boy Book or incense and Fire Society, etc., its origin exists a lot of controversy. Since the activities of opera survey in 1980's, more attention has been paid to children's play in Haizhou, and many scholars and cultural workers have put into the research work of children's play in Haizhou. From the point of view of rescuing and protecting intangible cultural heritage, this paper applies the method of comparative research through the collation and study of literature and field investigation, combining with the knowledge of ethnology, sociology, folklore and religion, etc. The development, performance system, stage performance, repertoire, banshe artist and present situation and prospect of Haizhou children's play are described in detail. The emergence and development of children's play in Haizhou is closely related to the unique geographical location and regional culture of Lianyungang. It is the gradual fusion of folk beliefs with Lianyungang's unique performing arts culture tradition. Slowly maturing in the process of promoting each other. The whole sacrificial process of Haizhou Boy play is a folklore activity, which is a concentrated folklore history. Sorcery culture is an important foundation for the formation and development of Haizhou boy play, and the origin of Haizhou child play is closely related to the sorcery. The performance of sacrificial ceremony in Haizhou Boy play "Burning Pig" has strong local characteristics. It includes spreading altar, opening altar, please die, step on foil, sit down, cross bridge, machete, Shengwen, send god, close altars, etc. After each sacrificial performance, there are lively theatrical performances, divided into the main play and this opera. The main play is a ritual drama of sacrifice, and this play is a series of plays performed in the ritual of sacrifice except for the drama of sacrificial rites. The boy play belongs to the high-cavity system and is a local opera with a single voice. Its singing is simple and rugged and sings in the local dialect, so it is the local people who invite it to perform. Chen Jiaban, Wang Jiaban and Liu Jiaban were handed down by Yu Tong in the Qing Dynasty, and there were also the classes of Cao, she, Chen and Wang. Most of the artists in Haizhou Boy play have passed away, only Cao Xiu and Cao Yanling and their daughters can provide more original performance information about the play. Before the founding of the people's Republic of China, the children's play in Haizhou declined day by day. Many child play artists changed their performances to Huaihai Opera. The government has taken some protective measures against it, but it still needs correct guidance and further data investigation and research. We can also draw lessons from the way out of the development of Nantong boy play, fundamentally improve the situation of the decline of children's play in Haizhou, and achieve the common popularization and improvement of both the performance and the audience.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J825
本文编号：2338013
[Abstract]:Tongzi Opera of Haizhou is one of Nuo operas, which is popular in Lianyungang, Shuyang, Lianshui and its surrounding areas. Children's play is also known as Boy Scouts Club, Boy Book or incense and Fire Society, etc., its origin exists a lot of controversy. Since the activities of opera survey in 1980's, more attention has been paid to children's play in Haizhou, and many scholars and cultural workers have put into the research work of children's play in Haizhou. From the point of view of rescuing and protecting intangible cultural heritage, this paper applies the method of comparative research through the collation and study of literature and field investigation, combining with the knowledge of ethnology, sociology, folklore and religion, etc. The development, performance system, stage performance, repertoire, banshe artist and present situation and prospect of Haizhou children's play are described in detail. The emergence and development of children's play in Haizhou is closely related to the unique geographical location and regional culture of Lianyungang. It is the gradual fusion of folk beliefs with Lianyungang's unique performing arts culture tradition. Slowly maturing in the process of promoting each other. The whole sacrificial process of Haizhou Boy play is a folklore activity, which is a concentrated folklore history. Sorcery culture is an important foundation for the formation and development of Haizhou boy play, and the origin of Haizhou child play is closely related to the sorcery. The performance of sacrificial ceremony in Haizhou Boy play "Burning Pig" has strong local characteristics. It includes spreading altar, opening altar, please die, step on foil, sit down, cross bridge, machete, Shengwen, send god, close altars, etc. After each sacrificial performance, there are lively theatrical performances, divided into the main play and this opera. The main play is a ritual drama of sacrifice, and this play is a series of plays performed in the ritual of sacrifice except for the drama of sacrificial rites. The boy play belongs to the high-cavity system and is a local opera with a single voice. Its singing is simple and rugged and sings in the local dialect, so it is the local people who invite it to perform. Chen Jiaban, Wang Jiaban and Liu Jiaban were handed down by Yu Tong in the Qing Dynasty, and there were also the classes of Cao, she, Chen and Wang. Most of the artists in Haizhou Boy play have passed away, only Cao Xiu and Cao Yanling and their daughters can provide more original performance information about the play. Before the founding of the people's Republic of China, the children's play in Haizhou declined day by day. Many child play artists changed their performances to Huaihai Opera. The government has taken some protective measures against it, but it still needs correct guidance and further data investigation and research. We can also draw lessons from the way out of the development of Nantong boy play, fundamentally improve the situation of the decline of children's play in Haizhou, and achieve the common popularization and improvement of both the performance and the audience.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J825
【参考文献】
相关期刊论文 前3条
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3 朱秋华;海州童子戏考略[J];艺术百家;1991年02期
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