中国传统戏剧闹热性研究

【作者】 王奕祯；

【导师】 翁敏华；

【作者基本信息】 上海师范大学 ， 中国古代文学， 2012， 博士

【摘要】 热闹——是千百年来，中国人对于传统戏剧艺术的直观感受。如果你无法用语言来确切地形容一出戏之精彩，那么就说它是“热闹”的，便足以让人理解。这个最简单不过的常用词，涵盖了传统戏剧乃至诸多传统民俗活动所蕴含的深刻命意。“热闹”、“闹热”其实一也。闹热性是戏剧的本质属性，对这一问题进行研究，不仅是必要的，而且更有可能接近并揭示中国传统戏剧的本质。本文从中国传统戏剧的内涵与中国传统戏剧史分期的重新界定出发，主体共分六章，主要解决三方面的问题：一是闹热性与戏剧史的关系；再为闹热性与戏剧本体的关系；三是东亚戏剧的闹热性。前两点立足于中国传统戏剧，为第一至第五章；后一点是第六章，从比较戏剧学的视角出发，对东亚汉语文化圈中日本、韩国和越南的传统戏剧之闹热特点做了进一步的分析。闹热性与戏剧史。闹热性与戏剧史的发展相统一，不仅随着传统戏剧的发生而出现，而且伴随其发展成熟而变化。闹热性是推动中国传统戏剧发展的内在动力，在其作用下，中国传统戏剧经历了三个时期——原始宗教阶段、民俗演艺阶段、戏曲艺术阶段，完成了娱乐、艺术的两次转型，并呈现出顺序发展、辩证统一的三个形态——原始闹热性、民俗闹热性、戏曲闹热性。闹热性与戏剧本体。中国传统戏剧的闹热性具有普遍性特点，其不仅通过传统戏剧的不同形态与大量“闹”字戏得以呈现，而且还存在于仪式、民俗、节日、文本、舞台表演、观演传播、戏剧审美等诸多方面。可见，中国传统戏剧本体与闹热性是统一的。东亚戏剧的闹热性。东亚各国文化“同源异流”、“同根异花”，其戏剧构成了东亚戏剧圈。由于中国传统戏剧的影响，闹热性亦是东亚戏剧的主要特征，但又各具特点。日本戏剧闹热性“退而其次”，仅存一隅；韩国戏剧闹热性原始与民俗混杂，形成独特的民俗闹热特征；越南戏剧闹热性则颇具民间性特点。传统戏剧及其闹热性是中国人传统闹热生活的直接产物，集中彰显了中国传统戏剧的特点，映射出传统民俗文化的内涵。本文对于传统戏剧闹热之系统全面研究，具有补白意义。其次，本文从戏剧史、文学史、文化史等角度，运用民俗学、文艺学、戏剧戏曲学、非物质文化遗产学等学科理论进行新的研究和探索，以求打开一个传统戏剧文化研究的新视野，因此亦具十分重要的学术价值与意义。此外，本文诸多的研究对象，已经成为或正在成为非物质文化遗产保护的项目，故而研究兼具实践意义。结语部分，笔者在全文研究的基础上，提出了艺术的“回返”规律，这是对艺术规律的一次探索性发现，故又具有一定的理论价值。本文在“一纵一横”——中国戏剧史、中国戏剧本体——两条线索上展开论述，而后又在东亚戏剧圈中“游走”一程，将中国传统戏剧的闹热性进行了全面发掘，并以此得出：闹热性是中国传统戏剧的本质属性。更多还原

【Abstract】 Renao—during one thousand years, is the intuitive feeling ofChinese traditional drama art. If you cannot use words to preciselydescribe a wonderful play, so you would say it is "Renao", which seemsenough to let people understand. This word is the simplest but oftenused, which covers the profound meaning conveyed by the traditionaldrama and even many traditional folk activities."Renao" actuallyequals to "Naore". The character of "Naore" is the essential attribute ofChinese traditional drama. Carrying on the research to this problem isnot only necessary, but is more likely to close to and reveal the essenceof Chinese traditional drama. This article from the departure of theconnotation of Chinese traditional drama and the redefinition ofstaging the history of the Chinese traditional drama, main body isdivided into six chapters, which mainly solves the three problems: thefirst is the relationship between the character of "Naore" and the historyof Chinese drama. The second is the relationship between thecharacter of "Naore" and Chinese drama for ontology. The third is thecharacter of "Naore" about the drama of the East Asia. The first twopoints are based on Chinese traditional drama, from the chapter1tochapter5. And the third one is the chapter6, from the angle ofComparative drama, which makes a further analysis about thecharacter of "Naore" of the traditional drama in Japan, South Koreaand Vietnam of Chinese culture circle in the East Asia.The character of "Naore" and the history of Chinese drama. Thedevelopment of the "Naore" character is unified with the Chinesedrama history. The character of "Naore" not only appears with theoccurrence of traditional drama and has changed with itsdevelopment and growth maturely. The character of "Naore" is theinternal driving force to promote Chinese traditional drama to develop. With this role, Chinese traditional drama has experienced threeperiods—primitive religious stage, folk performing arts stage and dramaart stage. In this way, it has completed the two transformations ofentertainment and art, presenting the three forms with a sequentialdevelopment, dialectical unity—the original "Naore" character, the folk"Naore" character and the drama "Naore" character.The relationship between the character of "Naore" and Chinesedrama for ontology."Naore" character of Chinese traditional dramahas universal characteristics, which is presented not only through thetraditional drama in various forms and much of the play with "Nao" word,but also exists in many other aspects like rituals, folk, holiday, text, stageperformance, communication with audience and actor, dramaaesthetic. In brief, Chinese drama for ontology and the character of"Naore" are unified.The character of "Naore" about the drama of the East Asia. Theculture in East Asia countries is "cognate with different flow","the sametree with different flowers", whose drama form East Asian drama circle.Due to the influence of the Chinese traditional drama, the character of"Naore" is also the main character of the East Asian drama, but withdifferent characteristics. The character of "Naore" in Japanese drama is"retreat to the second", only saving in a corner. The character of "Naore"in South Korean drama is the hybrid of original and folk customs, formingthe unique folk "Naore" character. The character of "Naore" inVietnamese drama has folk characteristics.Traditional drama and the character of "Naore" are results fromChinese traditional life, revealing Chinese traditional dramacharacteristics, mapping out the connotation of the traditional folkculture. In this paper, comprehensive study of traditional drama servesthe filler significance. Secondly, form the angles of drama history,literature history, culture history, this article provides new insights of research and exploration by virtue of disciplinary theories such asfolklore, literature, drama, intangible cultural heritage and so on, inorder to open a new field of vision toward a cultural study of traditionaldrama. So it also has very important academic value and significance.In addition, in this paper, many objects of study have become or arebecoming projects protected by intangible cultural heritage, so it haspractical significance to study. In the epilogue part, on the basis ofstudy in full text, I put forward the Art of "Return" Rule. This is anexploratory discovery for the law of art, so it has a certain theoreticalvalue.This article has discussed in two clues—"a vertical and ahorizontal"—Chinese drama history and Chinese drama ontologyon,and then "walk" a ride again in East Asian drama circle to explore thefull range of the "Naore" character in Chinese traditional drama.Conclusion is drawn: the character of "Naore" is the essential attribute ofChinese traditional drama.更多还原