【作者】 章军杰；

【导师】 王育济；

【作者基本信息】 山东大学 ， 专门史， 2014， 博士

【摘要】 婺剧是浙江省第二大地方性剧种,现覆盖金华、衢州两市及杭州、丽水两市所属部分县市,具有至少四百余年的历史。于2008年6月被列入第二批国家级非物质文化遗产名录。它是金衢一带及其周边地区历史积淀的艺术形态,也是这一地域群体寻找身份认同和归属的文化介质。但在全球化、现代化、城镇化的多重变奏下,婺剧赖以传承与发展的社会环境、经济基础和文化土壤等发生了深刻变化。在文化多样性、地方文化认同、文化遗产保护等多重意识倡导下,婺剧也成为构筑其流布空间文化生态的重要内容。多元文化格局是对婺剧传承与发展内部逻辑的真实表达,也是对婺剧传承与发展时代语境的客观描述,它跨越了婺剧本体与外部因子的作用边界,贯穿于婺剧承续的历史、现实与未来,呈现为一个立体的、多层次的复杂体系。具体而言,它既可用于指称传统文化与现代文化的线性框架,也可用于指称全球文化与地域文化的空间结构；既可用于指称婺剧演艺与其他娱乐的交叉关系,也可用于指称婺剧内部不同声腔之间的交互共生,等等。在多元文化格局视野下,本文借助田野调查、个案分析等多种研究方法,从历史演变、现状考察、文化透视等方面入手,从调研中做出判断、从参与中得出结论,就关涉婺剧传承与发展的若干问题进行探讨。本文共分六部分：绪论部分对研究对象及相关情况进行了交待。第一章以文献汇编与史志资料为中心,通过对婺剧起源与演进的历史考察,剖析婺剧发展变迁的地理生态和文化空间,探讨婺剧形成与发展的历史走向与基本脉络,对婺剧的起源与演进做一较为系统和深入的考察分析,同时也为婺剧传承与发展提供历史依据和经验参考。婺剧之所以为婺剧,乃因其特殊的历史条件和文化生态所致,其传承与发展不可脱离于原有的社会生态。外来声腔的本地化与本地声腔的综合化是婺剧形成与发展的初始形态,合班演出的发展历程则大体反映了婺剧演进的历史脉络。婺剧作为一种地方剧种,它或许永远也不会突破狭小的地域空间,成为一种广泛意义上的大众艺术,但这种地域性也正是婺剧最具根植性的文化魅力。着眼于本土化的婺剧叙事,或有一更好的婺剧传承与发展。第二章以实地考察和调研分析为中心,通过对婺剧传承载体的总体分析和对浙江婺剧团和金华青年婺剧团的个案研究,探讨婺剧传承与发展的现实表现与发展动态,对婺剧现状进行较为系统的全面考察。金华辖区内20000余场/年的婺剧团演出量等相关讯息,凸显了婺剧异于其他濒危剧种的发展优势。但婺剧现场观众群体的老龄化、低学历等问题,又潜藏了婺剧传承与发展的重大危机。同时,两个剧团“国营”与“民营”的不同身份标识,“演员”与“员工”的不同管理体制,以及路头戏与剧本戏的不同演出形式,在业内外形成了“专业剧团”与“职业剧团”的不同评价。可以说,浙江婺剧团占据了婺剧传承与发展的绝对优势资源,也被公认为代表了婺剧业界的最高水准。但它日常可供上演的剧目总数不及金华青年婺剧团的一半,在与民营剧团的市场竞争中也相对处于弱势。国营剧团与民营剧团的优劣比较,贯穿于两个剧团的分析对比之中。第三章考察了婺剧具有较强稳定性的文化特性和具有相对变动性的价值意义,梳理了婺剧传承与发展的复杂现实语境,剖析了多元语境交织下婺剧传承与发展的时代困惑,从多维视角勾勒婺剧传承的社会生态与发展空间。婺剧作为金衢一带及其周边地区的地方性剧种和集大传统、小传统于一体的多声腔剧种,它具有粗犷强烈、固守传统、多元汇聚的微观特征。这些特质内嵌于婺剧的文化内涵与历史积淀之中,外显于婺剧表演、婺剧音乐、婺剧唱腔等各个面向,构成了婺剧赖以称之为“婺剧”的强力支撑。婺剧价值的动态变迁具有一定的承继性和变异性,呈现为从娱乐价值到经济意义和从教化价值到文化意义的延续性转变。在全球与本土、传统与现代、城市与乡村等时空界限的碰撞交织下,婺剧面临基于地域文化认同的价值重构,实现由“传统婺剧”向“现代婺剧”的身份转换,以及婺剧活动由乡村向城镇的重心转换。同时,婺剧民间艺术与非遗项目的双重性质,形成了婺剧具体实践中艺术维度与非遗向度的对立关系,造成了政府与社会对婺剧传承与发展角色定位的模糊化,凸显了公共事业与婺剧产业的矛盾关系。这些问题弥散于婺剧传承与发展的各个方面,贯穿于婺剧传承与发展的全过程。第四章梳理了近十年婺剧发展相关政策及对策建议,从中发现关涉婺剧传承与发展的焦点问题和难点问题,为婺剧传承与发展的未来实践提供参考和启迪。余论部分则是对全文的总结和进一步思考。更多还原

【Abstract】 Wu Opera, the second largest local opera in Zhejiang Province, which covers Jinhua, Quzhou and some counties in Hangzhou and Lishui today, can be traced back to at least four hundred years ago. It was included in the second catalogue of national intangible cultural heritage list in June2008.It is the art form of historical heritage in Jinqu and its surroundings, and the culture medium which the regional groups seek their identity from and belong to. But in multiple contexts of globalization, modernization, and urbanization, the social environment, economic foundation and cultural soil which Wu Opera relies on have changed dramatically. With the growing awareness of multi-cultural diversity, local cultural identity, and cultural heritage protection, Wu Opera has become the important content to build its flow space of cultural ecology.Multi-culture is an objective description of Wu Opera’s context of its inheritance and development. It breaks through the border of Wu Opera and beyond its external factors, runs through the history, present and future, showing the complicated system, three-dimensional and multi-level. Specifically, it can be not only used to refer to the linear framework of traditional culture and modern culture, but also the spatial structure of global culture and focal culture; it can be used to refer to the relationships among Wu Opera and other entertainments, but also the symbiotic interaction among different tunes in the internal of Wu Opera, and so on.From the perspective of multi-culture, the paper adopts a variety of research methods, such as field investigation and case study. Meanwhile, the aspects such as evolution, current observation and cultural perspective are discussed as a starting point. Finally, by judgments from research and conclusions from involvement, related issues of Wu Opera’s inheritance and development are fully illustrated.This paper, including introduction and conclusion, is divided into five parts.The introduction explains the research object and related circumstances.The first chapter analyses Wu Opera’s geographic ecology and cultural space in its development, explores its historical trend and the basic context of its formation and development, based on documents collection and historical records, through the historical research of Wu Opera’s origin and evolutioa Consequently, in-depth analyses of its origin and evolution are made and historical basis and practical references for its inheritance and development are offered.The formation of Wu Opera has resulted from the special historical conditions and cultural ecology. As a result, its inheritance and development cannot be divorced from the original social ecology. The localization of external tunes and the Integration of local tunes are the initial form of Wu Opera, and the process of the tunes joint performing largely reflects the evolution of Wu Opera. As a local opera, Wu Opera may never break through the narrow geographical space to become more popular, but this regionalism is also the most rooted cultural charm. Focusing on the local narration, Wu Opera may inherit and develop itself better.The second chapter explores the dynamic practices of the development of Wu Opera and comprehensively investigates the current situation of Wu Opera, centering on fieklwork and research, through the overall analysis of the Wu Opera heritage carrier and case studies of Zhejiang Wu Opera Troupe and Jinhua Youth Troupe. The data of more than20,000performances every year have strongly indicated the great vitality of Wu Opera, much better comparing with other endangered operas. But problems like the aging population and bw education of audiences imply its potential crisis.Moreover, the two different identities of state-owned and private troupes, the two different management systems of actors and staff, and the two different show forms of improvisational performance and script drama, finally formed different assessments of professional theater and occupational theater in and outside of the industry. In fact, during the inheritance and development of Wu Opera, Zhejiang Wu Opera Troupe as a state-owned one which has dominated the overwhelming resources, its operas are recognized as the best of Wu Opera. But the total number of its daily performance repertoire available is less than half of that of Jinhua Youth Troupe, which makes it comparatively weak when challenged by the private troupes. The issue of which kind of troupes is better between state-owned and private troupes is discussed throughout the analyses and comparison among the case study.The third chapter outlines the social-ecobgical and development space from multidimensional perspective, by examining the relative stability of its cultural identity and the relative variability of its values, presenting the complexity of practical context during its inheritance and development, and analyzing the realistic dilemma during the inheritance and development of Wu Opera from the perspective of the multivariate context. As a local opera and multi-tune opera which have integrated the great tradition and little tradition, Wu Opera features of microscopic characteristics like rough performance, defending tenaciously tradition and diverse aggregation. These particularities are embedded internally in its cultural connotation and historical heritage, and displayed externally among its performances, music and singing, which strongly show why Wu Opera is called "Wu Opera". Both inheritance and innovation exist in the dynamic change of its values, which presented itself as transition from entertainment value to economic significance and transition from educational value to cultural significance.In the context of collision between globalization and localization, tradition and modern, cities and villages, Wu Opera feces the value reconstruction based on geographical cultural identity, the change from the "traditional Wu Opera" to "Modern Wu Opera", and the focus shifting from rural to urban areas. Meanwhile, Wu Opera possesses the dual nature of folk art and the non-heritage items, which leads to an antagonistic relationship between artistic orientation and intangible cultural heritage’s dimension in its practice, and role ambiguity of the government and society in its inheritance and development, highlighting the contradictory relationship between the public service and commercialization of Wu Opera. These issues run through in all aspects and the entire process during the inheritance and development of Wu Opera.The forth Chapter examines the related policies and solutions of Wu Opera’s development, identified the focuses and difficulties concerning the inheritance and development of Wu Opera, and has also provided suggestions and enlightenment for the future practices of Wu Opera.The last part is the summary of the full text and further considerations.更多还原