【作者】 王鹏龙；

【导师】 车文明；

【作者基本信息】 山西师范大学 ， 戏剧戏曲学， 2012， 博士

【摘要】 山西神庙剧场数量众多，近年来成为学者们研究的对象之一。在山西北部的雁北区域，现存的神庙剧场的数量也很可观。另外据文献记载，除了神庙剧场之外还有其它演出场所。但长期以来人们给予的关注却较少。针对这种状况，本文以田野考察资料以及相关文献为依据，对雁北明清时期剧场及其演剧状况展开讨论。在确定了本文讨论中心“雁北”的范围之后，首先，对雁北这个区域形成、巩固的历史过程作了梳理，探究其与时代和社会发展之间的联系，在此基础之上说明雁北戏剧生成的文化背景；其次，对神庙剧场发展的状况与具体的剧场建筑形制进行了描述与总结，使我们能够清楚了解剧场修建的实际状况与特点；再次，进一步从信仰角度出发，探讨了神灵信仰与剧场和演剧的关系；最后还对雁北在明清时期的演剧状况进行了梳理。通过对区域自然与社会环境变化的梳理，我们认为雁北区域的开发与历来的军事活动密切相关。明清时期该区域人文环境再次变化，特别是大同府在明代作为“九边”之一，对当时社会政治、经济与文化以及后来村落的发展都产生了重要影响，直接影响到以后的剧场建设与演剧活动。通过对剧场的考察，发现雁北在明时已出现了神庙剧场，目前仅见在文献和碑刻中记载的六处，清代神庙剧场已大量普及，目前仍存有上百处。特别是在世风的影响下，个别寺院在山门之外也修建了戏台。现存戏台建筑也主要为清代修建，卷棚顶占绝大多数，硬山顶者为少数，使用隔扇区分前后台，前檐大都不施斗栱，装饰简洁，内部檩条大多为两圆木上下叠加。这些特征与山西其它地区乃至华北的有一定的相似性，但更具有区域特征。它们既是神庙剧场改革与发展的必然结果，又与雁北自然地理条件、经济发展状况和生态环境有密切关系，还表现出一种地域性的审美追求。通过对信仰与剧场之间关系的考察，发现雁北明清时期的神庙剧场多与官方信仰有高度一致性。诸如城隍庙、关帝庙、真武庙、北岳庙、文昌祠、龙王庙、三官庙、八腊庙等大都被纳入到官方常祀范畴，它们在民间也得到了广泛认同。这些神庙对于官方来说，是现实与统治的需要，体现了封建统治系统的周密性、完整性与现实世界的社会秩序，官方根据现实处境对所祀神灵自觉地进行选择并加以利用，还要依附于长期以来形成的民俗传统；而对于民众来说，这些受实用主义的影响，也是对长期所形成的神灵观念或思想的传承。无论怎样，雁北在明清时期出现的各类神灵信仰，为剧场的普及与演剧活动的兴盛创造了条件。通过对文献资料的稽考，发现明代大同代王府与地方所蓄乐户众多，乐妓与官绅的往来在明代以及清初也较为普遍，这些都激发了地方各阶层观演戏剧的热情，对后来戏剧的发展和繁荣有重要的推动作用。明清时期雁北各县区，在迎神赛社和岁时节令时的戏剧表演活动也都异常丰富多彩，无论是对剧场的建设还是对剧种的发展都起了较大推动作用。现存的舞台题记中，有许多梆子戏和地方小戏剧目，还有班社的名称和艺人的名字，这些为了解地方戏曲的发展状况提供了可靠的依据。更多还原

【Abstract】 The temple theatre in Shanxi Province become a concerning object of scholarsin recent years. The existing temple theater are numberous in Yanbei, the northern region ofShanxi. In addition, there are other drama’s stage. But both the situations are not givenenough concern for a long time. So the artilce, based on the field ingverstigation and relatedocument, intoduced and discussd the theatre and drama actity in Yanbei during the Ming anQing dynasties.When determining the scope of the“YanBei, the articl firstly introduced the historicalprocess on the forming and consolidation, through which we highlight the closely relationshipbetween the region and society. Based these, we introduced the cultural background of thedrama in Yanbei. Secongly, we summaried the overall situation of the temple theater andspecific architectural features. Again, we furtherly discussed the relationship between the faithand temple theater from the faithful perspective. Finally we talked over the activitiesabout the drama during Ming and Qing dyanaties.Through introducing the regional natural and social environment change, we think thedevelopment of YanBei has always been closely related to the military activities. In the Mingand Qing dynasties, the regional cultural environment took placed big changes again.Especially in the Ming dynasty, Datong mansion as one of“the nine edge”, had greatinfluence to the development to social polity, economy and culture, and even villages’development, so that directly affect the theater’s late construction and drama’s activities.Through the investigation of theatre, we find that there already appeared temple theatresin YanBei during Ming dynasty. There were only six in the area, which were recorded indocument. Temple theaters were widespread in Qing dynasty. Especially they arised out offew buddhist temple’s gate under the influence of antidote. The existing stages were mainlybuilt in Qing dynasty, whose structure had many similarities with the others in rest areas ofShanxi, however with more regional characteristics. The Juanpeng’s top was the majority, the Yingshan’s top was few, all of which used parting board to distinguish the front and rear,mostly not used Dougong under the eaves. They mostly were plain adornment, twocontinuous logs in interior. These features were not only inevitable results of the reform anddevelopment of theatre, but also related with YanBei’s natural and geographical conditions,economic development and ecological environment, and showed a kind of regional aestheticpursuit.Through inspecting the relationship between the faith and the theatre, we find thattemples in Yanbei had high consistency with the official beliefs duing the Ming and Qingdynasties. Such as the Chenghuang temple, Guandi temple, Zhenwu temple, Beiyue temple,Wenchang temple, Longwang temple etc, they were mainly recruited into the official’ssacrificial category. To official, these temples were the need of the reality and the rule, whichreflected the rule, the integrity and social order of the feudalism system, and they also werewidely accepted in folk faithfu traditon. The official had a choice to the gods according to thereal conditions consciously, but also depend on the traditional folk custom. But to the public,they accept according to the practical, also to the long-term formed inheritance of god idea.These were the deep reflection of social changes in the area, more of the logical relationshipbetween regional environment and beliefs. They lay the foundation for theatre and theprosperity of play activities.Throngh analysizing the literatue material, we find that there are many musicians inDaiwang’s manson and villages during the Ming dynasty. The connection between tleprostitutio and gentries is common in Ming dynasty. All of these inspired many classes’enthusiasm to the drama, and had an important role to propell the developmen of drama inlater. Activities and the performances were incredibly rich in the saluting god and season’festival, during the Ming and Qing dynasties. They both play a major role to the constructionof the theater or to the development of all operas. Through inscription on the stage，we alsofind that lots of Bangzi and local opera’s repertoire name, opera troupe and performer’s name,all of which provide a reliable basis for us to understand the local drama’s development.更多还原