【作者】 刘霄；

【导师】 延保全；

【作者基本信息】 山西师范大学 ， 戏剧戏曲学， 2014， 博士

【摘要】 地台戏又称“地台子”、“故事戏”等，是流传于山西省临猗县吉家营村的一种家族祭祀仪式剧，它植根于民间，与祖先信仰、宗教祭祀紧密结合，且依附于元宵社火、祖先崇拜等民俗活动，以福佑子孙、驱凶纳吉为目的，具有浓郁的地方性宗教祭祀色彩。地台戏不设舞台，演出时划地围场，开演前伴有一系列象征性祭祀仪式，人物装扮世袭制，乐队伴奏只以锣鼓、铙钹击节，不配丝弦；演员以唱为主，支曲反复，道白仅出现在打报军情、传令武将等场合，而且十分简单，甚至有些剧目通篇无白；唱词以七言诗赞体形式出现，偶有添加一至两字凑句现象，基本唱段分为上下栏，各四句；演唱形式又有独唱、对唱、轮唱、合唱，通篇相类；剧目多为历史征战题材，场面火爆，打斗激烈，无女性参与；流传地域仅限于吉家营村，属于家族性祭祀演剧，并且是全部以武戏入剧的特例。开展地台戏的发掘、研究，不仅丰富了祭祀仪式剧的种类，而且也能让我们更加全面的认知仪式剧的各种特质。序言中，阐述了选题的目的与意义、论文的主要内容及创新之处。第一章分别介绍了古河东地区、临猗县、吉家营村的区域概况、社会人文和宗教信仰，在吉家营村的建村过程中指出明代的户籍制度、兵役制度、屯田制度对当地民俗环境、社会心理的影响，以及与地台戏产生、形成的重要关系。第二章主要探讨地台戏的起源、发生、发展、演变过程，重点分析影响其产生的社会文化因素，总结明代军屯制度对地台戏产生的先决因素，以及本地区迎神赛社、民间歌舞和各种仪式演剧形态对地台戏的最终成型所起的重要作用。第三章介绍地台戏的演出形态，主要以2012年元宵节期间，山西大学、非遗保护中心、临猗县文化馆联合考察过程作为研究基础，全面展现地台戏存在的民俗环境，真实记录地台戏从组织筹备到排练演出的整个过程，系统总结家族祭祀演剧所保留的原始艺术形态，力求还原地台戏的真实面貌，从而揭示出祭祀仪式与戏剧表演之间相互包含、相互融合的关系。地台戏现存剧目34出，大部分是反映历代征战兴废的题材，以隋唐五代故事居多，还有少数先秦戏、三国戏、封神戏、水浒戏、神魔戏等。抄本以麻线装钉，单页双折，用蓝色、黄色、格子粗麻布包装，封面无字，唱词均在纸张背面书写。第四章从地台戏剧本内容入手，结合其表演形式、音乐唱腔，对抄本的外观形制、剧情梗概、故事本源、人物形象、创编手段、剧本特点等方面进行初步考证与研究，揭示其中所反映的民众思想、社会心理以及价值取向。第五章将地台戏放置于黄河流域仪式戏剧的大环境中，通过与其他仪式戏剧的比较研究，揭示出传统农耕文明影响下的仪式戏剧在演出目的、演出过程、艺术形态等方面所具有的类同性,并且从剧目名称、情节内容、抄本唱词、音乐唱腔、脚色行当、乐器伴奏等方面将地台戏与当地流行的大剧种——蒲剧、秦腔进行比较，发现三者之间存在着明显的历史传承关系，总结成熟戏剧形态对地台戏形成所起的作用。最后在全文基础上，深入探讨它作为一种民间家族祭祀仪式戏剧所具有的形态功能，以及在中国戏剧史上的价值与意义，为仪式剧研究增添新的实物案例。更多还原

【Abstract】 DiTai opera, also known as “Di Tai Zi” or "story play", is popular in JiJiaYing village,Linyi county, Shanxi Province as a kind of family ceremony play. It is rooted in the folk,closely integrated with the ancestor worship, religious, and attached to the lantern festivals,ancestor worship and other folk activities to bliss sons, Najib fierce drive for the purpose ofreligious worship with rich local religious color. DiTai opera play no stage performances,delimit the paddock, before the show with a series of symbolic ritual, people dressedhereditary, orchestra only in drums, cymbals hit section, unworthy stringed; actor to sing themain branch song repeatedly, talking appears only in military intelligence, heralds thegenerals and other occasions, even some plays have no talking throughout; libretto tocalligraphy like body form, occasionally adding one or two word, the basic aria is divided intocolumns, each four; concert form devided solo, duet, round singing chorus, similarthroughout. Repertoire mostly historical campaign themes, scenes of hot, fierce fighting, nofemale participation; geographical spread is limited to the guitar home village, which belongsto the family of the ritual drama, and DiTai opera is all in arms into the drama of a specialcase. The excavations carried out in DiTai opera, research, not only enrich the kind of ritualdrama, but also allows various qualities of our more comprehensive cognitive ritual drama.Preface describes the purpose and significance of the topic, the main content andinnovation of the paper. The first chapter introduced the regional situation, social cultural andreligious beliefs in ancient HeDong district, Linyi county and JiJiaYing village, points out theinfluence of the household registration system and the military system in Ming Dynasty, thesystem of Mita Local folklore environmental, social psychology, as well as to produce DiTai opera, important relationships formed. The third chapter introduces the play form of DiTaiopera, mainly in2012during the Lantern Festival, intangible cultural heritage protectioncenter, Shanxi University, Linyi County Museum Cultural joint investigation process as thebasis, comprehensive display of the DiTai opera together existing folk environment, thewhole process of real recording DiTai opera play from the preparatory to the rehearsal andperformance of the system, summarizes the form of primitive art retained in the familysacrificial drama, tries to restore the true face of the DiTai opera together, so as to reveal therelationship between ritual and drama contain each other, mutual fusion.The DiTai opera together existing repertoire of34, mostly reflect the abolition of themesin Sui Tang and Five Dynasties, there are a small number of pre Qin opera, SanGuo opera,Feng Shen opera, Shui Hu drama, ShenMo drama etc. The Codex to twine binding, singlepage double fold, with blue, yellow, lattice cloth cover packaging, wordless, lyrics are in theback of the paper writing. The fourth chapter starts from the DiTai opera content, combinedwith its form, the vocal music performance, appearance shape, the plot, story, characters,creation means the origin, characteristics and so on copies of the script for preliminary textualresearch, it reflects the thoughts of the people, social psychology and value orientation. Thefifth chapter will play the DiTai opera placed in the Yellow River basin of ritual drama in theenvironment, through a comparative study of DiTai opera and other rituals, reveal that has animpact on traditional farming culture of ritual theatre, art form of process performance in theperformance objective, aspects of the same name, and from the repertoire, the plot content,copy the libretto singing, music, role of business, musical accompaniment and so on will thebig drama the drama together with local popular--comparison of cattail drama, opera, thehistorical inheritance there was found between the three, summarizing the mature drama form’s role in the formation of the platform. Finally, in the basis, in-depth study of morphologyand function as a private family ritual drama has value and significance, as well as in Chinesedrama history, add new real case for ritual drama.更多还原