广东汉剧研究

【外文题名】Research on Han Opera in Guangdong

【作者】 陈志勇

【关键词】 地方剧种 广东汉剧 发展历史 舞台艺术 粤东社会 客家文化 非物质文化遗产保护

【外文关键词】 Local Operas Han Opera in Guangdong(广东汉剧

【导师姓名】康保成

【学位名称】博士

【学位年度】2008

【学位授予单位】暂无

【所属分类】I053,K85,J81,D913,J825

【录入时间】2008-01-01

【全文挂接】 万方挂接 读秀挂接

【摘要】个缩影，其戏剧史的意义与研究价值，自不待言。本文共分八章，分别从广东汉剧发展历史的勾勒、艺术特征的归纳、演出生态环境的描述三个层面展开研究。第一章，总结出广东汉剧的艺术来源具有“多元化”的特点。第二章，从历史文献和口碑材料出发，考证了汉调皮黄流入粤东地区的时间、路线，并全盘梳理了广东汉剧发展的历史脉络。第三、四章，从剧目剧本和舞台艺术的角度，对广东汉剧的艺术本体展开研究。前者归纳出广东汉剧演出剧目结构形态和剧本形态的基本特点；后者重点考察了广东汉剧脚色体制、舞台美术、特色乐器以及唱念语言等舞台艺术的基本规律。第五、六章，意在通过对广东汉剧戏班、乐社和粤东民间艺术的考察，揭示它们对广东汉剧“本地化”进程产生的重大影响。第七章重在阐发广东汉剧背后的文化涵义，揭示其艺术兴衰与生存环境变迁的内在关联。第八章考述了广东汉剧在闽西、台湾以及东南亚等地的传播和交流活动。新时期，非物质文化遗产保护政策不仅为广东汉剧的保护获得了发展的话语权，也为本论题的研究注入了时代涵义，在“余论”中通过对广东汉剧历史生态环境变迁规律的总结，并借鉴昆剧、粤剧的成功经验，建议广东汉剧在舞台唱念语言上“改官为客”。本论文将广东汉剧放置在中国戏剧发展历史和岭南文化的双重背景下，全面勾勒了广东汉剧形成、流变、传播的脉络，重点考察了“外江戏”与粤东本地艺术、文化发生的相互作用。这样的结构安排集中体现了笔者努力阐释“广东汉剧与粤东社会”这个核心议题的思路。...

【外文摘要】　 AbstractIn Qianlong Dynasty, Local dramas defeated Kunqu Opera(昆曲) and was gradually occupying the drama stages. In this context, Han opera in Guangdong (广东汉剧) is formed on the basis of Handiao Pihuang(汉调皮黄)mingled in HuBei and imported into Eastern Guangdong by Qiyang drama troupes（祁阳班) of HuNan province. Han opera in Guangdong(广东汉剧) is the “living fossil” because it is located in Eastern Guangdong—a relatively closed area and preserved the early art forms of Handiao Pihuang(汉调皮黄) very well.Guangdong Han opera 's history and status quo is a microcosm of local drama history, it is very valuable for the study of Chinese drama history and research.This paper is divided into eight chapters, mainly on Han opera 's history, its art characteristics and performing environments. Chapter one sums up the diversification characteristics of Guangdong Han opera’s(广东汉剧) art sources. Chapter two researches on the time and lines of Handiao Pihuang(汉调皮黄)from Hubei to Eastern Guangdong, and cards a clue on Han opera’s (广东汉剧)development history from historical and oral materials. Chapter three and four study the arts of Han opera in Guangdong (广东汉剧)from the script and the performing. The former summarizes an opera’s （汉剧）the structural characteristics of the performed plays and the scripts ;the latter mainly inspects Han opera’s (汉剧)basic art laws, such as role-structures, stage arts, special musical instruments, as well as languages on the stage. Chapter five and six reveal the significant impact of troupes, music clubs and fork arts on Han opera’s “localization. Chapter seven reveals the cultural meanings of Han opera in Guangdong(广东汉剧)，and the relationship of Hanju’s(汉剧) rise and fall with its living environment changes. Chapter eight states the dissemination and exchange activities of the Han opera (广东汉剧)in western Fujian, Taiwan and Southeast Asia. In the new period, non-material cultural heritage protection policies not only give the protection of Han opera in Guangdong(广东汉剧) a right to speak, but also ingest meaning of the times into this paper. In a word, this paper proposes to change the mandarin for the Hakka(客家话) on arena language of Han opera in Guangdong(广东汉剧) because of the change of ecological environments of Guangdong Han opera and the successful experience of Kunqu opera (昆剧)and Cantonese opera（粤剧）.This paper sketches a clear clue on the Han opera’s(广东汉剧) formation, evolution and diffusion, and focus on the interaction between Waijiang Opera(外江戏) and the local arts and culture on Eastern Guangdong by setting Han opera in Guangdong(广东汉剧) in the development of Chinese dramas and Lingnan culture(岭南文化). This structure reflects that the author tries his best to explain a core issue on Han opera in Guangdong(广东汉剧) and the Eastern Guangdong community....