【作者】 段建宏；

【导师】 吴琦；

【作者基本信息】 华中师范大学 ， 中国古代史， 2008， 博士

【摘要】 戏台在山西地域社会中占有重要地位,长期以来对戏台的研究着重于戏台建筑和戏曲史中的戏台,然而仅此并不能揭示出戏台深厚的社会属性。为了从深层挖掘戏台的内涵及其在地域社会中扮演的角色,本文运用历史学与文化人类学的方法对山西戏台进行了考察,分析明清时期山西戏台的特色及其形成原因,解析古戏台的社会功能,并进一步探讨戏台所蕴涵的国家与社会的关系以及民间信仰对戏台的影响。对华北区域社会史的研究是近年来学者关注的一个对象,作为其组成部分的山西地域社会,既有华北区域的共性,更有本地域的个性,研究山西是对华北区域社会史研究的充实和丰富。明清时期山西戏台不断普及,几乎扩展到每一个乡村,这不是一个偶然现象,而是长期以来思想文化、风俗习惯的继承和发展,带有强烈的地域特色,与民间信仰、歌舞娱乐密切相关,进行戏台研究可以从多方面阐释地域社会。戏台是社会的产物,只有深刻揭示其社会性,揭示其与社会的关系才能真正了解认识明清山西戏台的特色。受自然环境与社会文化因素影响,明清山西戏台的发展与分布呈现出自身的特色,其中既反映出各地的风土民情,也成为研究戏台的出发点。社会功能是研究戏台的重点,社会教化与娱乐功能,使戏台适应了民间社会的需要,促进了各地积极修建戏台。文化传承与社会交往功能,则提升了戏台的文化内涵及其象征意义,进一步稳定了它在社会中的地位。无论是在城市还是在乡村,戏台都不只是一件单纯的建筑物,它所承载的文化信息与所具有的文化魅力使它与民众生活密切相关。在大量的娱乐与祭祀活动中,民众广泛参与,使戏台成为地域社会中的公共活动场所,在乡村社会中尤其如此,极大地补充了民众在休闲娱乐方面的不足。公共机构的设立,使戏台作为公共场所的地位更加稳固,“公共性”使它能够容纳更大范围的民众,比家族祠堂具有更广泛的辐射面,能够体现出强烈的集体认同与公共意识。民间信仰也为戏台的发展注入了活力,在很多情况下,民众对神灵的态度与方式与正统思想并不完全一致,但却表达了民间信仰的发展理路,表达了民众的心理,他们通过修建戏台确立了自己的信仰模式。透过这一层面,也可以看到国家与社会的关系。在对戏台展开论述的同时,本文对相关的民俗、信仰、商业等也进行了研究,以期从整体上反映山西地域社会。更多还原

【Abstract】 The stages took an important status in area society in Shanxi. Over a long period of time, scholars have paid more attention to the construction of stages and the influence of stages on drama historical research. But obviously this is not enough to reveal the sociality of stages. In order to give a deeper insight into the implications and the role stages have played in the regional society, based on the theory of the history and culture-anthropology, this article is aimed to analyze the characteristics of stages in Shanxi, their formative reasons and social functions, and to give a further discussion on the state-society relationship that stages implied and the influence of folk beliefs on stages.In the recent years, scholars have focused their attention on the history of area social in north China, the part of which, Shanxi area not only has the generality of north China area but also has its particularity. The research in the north China area history can become more substantial and thorough through the further study on Shanxi. It was not an accidental phenomenon but the inheritance and development of specific thinking, culture, customs, folk beliefs, entertainment, fashions and so on that the stages became popular and were built in almost every village in Shanxi in Ming and Qing dynasties. So the study on stages can interpret area society from many aspects.Stages forming in society, we must cast light on its sociality and its relationship with society and so its characteristics can be realized. Influenced by the natural environment and social-cultural factors, the development and distribution of Shanxi stages in Ming and Qing dynasties not only reflect the local conditions and customs but also can be regarded as the starting point of studying stages. Social civilization and entertainment function of the stage adapted the stage to the need of folk society, and promoted the construction of stages. As the other two functions, cultural inheritance and social intercourse advanced the cultural connotation and symbolic meaning of stages and stabilized their social status. Whether in cities or in villages the stages were not simply a building. The cultural implications and charm they carried made them popular among common people. People especially in villages often participated in many entertaining and sacrificial activities, which made stages the public. The publicity of stages meant that they could hold more audiences than ancestral temples and could embody the collectivity consciousness. The folk belief had promoted the development of stages. In many cases, folk people’s attitudes towards deities just reflect their inner world and the developmental process of folk beliefs. Based on this, the relation between the state and society could be seen through.While discussing the stages, this article makes a study of the relevant customs, beliefs, commerce, etc. So that it can reflect Shanxi area society in the whole.更多还原