碗碗腔研究

【作者】 张泓；

【导师】 宋光祖；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2008， 博士

【摘要】 碗碗腔是原陕西关中东部地区盛行的皮影戏腔调,后流传到河南、山西一带。碗碗腔成熟于清朝初年。音乐上和以板胡为主的秦腔不同,以敲击铜碗来确定乐曲的轻重缓急,具有浓重的地域特色,且以上句押韵落板,非常少见;皮影表演的历史要追溯到汉代以前,选材考究,人物造型生动鲜明,有强韧的生命力。建国后经过改良发展,开始搬上舞台由演员演出,并先后成立了陕西省戏曲研究院眉碗团和大荔县碗碗腔剧团,后者因经营艰难已被撤销;前者坚持舞台搬演,对碗碗腔进行着新的改革和弘扬。与城市院团不同,民间的碗碗腔演出仍是皮影戏形式,多为五六人组成,行动方便,不择场地,长年活动于民间的村镇宅院。因为各种原因,老艺人越来越少,又缺乏继承,演出稀缺,碗碗腔皮影正以异乎寻常的速度迅速消亡,拯救、保护刻不容缓。一个值得注意的现象是,虽然皮影在本土遭遇冷遇,却并不妨碍它们“走出去”:少数著名艺人和班社经常被邀请出国演出,在当地找不到传人的皮影艺人却招收了洋弟子;一些国外专家组成的考察团也正在把我们的的历史资料转化为他们的学术成果,用重金收购我们祖先留下的家底,古老的文化资源正在严重流失。而初步梳理碗碗腔发展史、整理和研究现有的演出资料、分析民间班社的演出和生存状况,正是本文的特点和重点。本文分为四个章节,第一章是关于碗碗腔源流的梳理和分期,此工作前人未曾做过,笔者希冀能补此空白,为更深一步的研究建立初步的基础。第二章为碗碗腔剧目研究,分别对折子戏和大戏进行文本探讨,并结合演出情况进行具体评价。第三章为碗碗腔表演艺术研究,分别从造型艺术、制作工艺、演出形态及音乐四个方面凸现剧种的特殊性,并对碗碗腔搬进剧场的经验作初步的总结。最后一章是对艺人的采访整理。意在客观、真实地把剧种原生态的生存现状记录下来,为保护、拯救这一濒临灭绝的艺术品种做材料上的准备。对碗碗腔剧种的研究,不仅能够折射出地方小戏的发展路径,为小剧种的命运提供一份个体备案;同时,对于远未停歇的戏曲改革,也具有参照和借鉴意义。更多还原

【Abstract】 Wan Wan Opera, originally was the popular shadow play tune-pattern in the east of Guanzhong region in Shaanxi. Afterward it spread to He’nan and Shanxi.Wan Wan Opera was mature in the beginning of Qing Dynasty. Musically, different from Shaanxi Opera’s focus on Banhu,Wan Wan Opera with its thick regional feature shows its melody by knocking the copper bowl. The way it rhymes is seldom. The history of using shadow play in Wan Wan Opera dated back to even before Han Dynasty. Its selected material, vivid characters endowed Shadow Play with vitality. Developed after coming into being of the People’s Republic of China, it was moved to stage and performed by actors. Successively two relevant troupes were established--Meiwan troupe of Shaanxi Opera Research Institute and Dali Wan Wan Opera troupe. The latter was cancelled later but the former still keeps on improving Wan Wan Opera.Different from the city troupes, folk Wan Wan Opera still keeps its form of shadow play. Normally five or six people are enough for the whole performance. For different reasons, experienced entertainers become less and less. Plus no successors and fewer performances, Wan Wan Opera is dying at an extraordinary speed. It’s urgent to save it now. A remarkable phenomenon is that though shadow play was out in the cold in mainland, it is popular abroad. A handful of famous entertainers and troupes are often invited to perform abroad. Difficult to find successor in mainland, they recruited foreign prentices. Some foreign experts try to transform our history documents into their own academic results by purchasing our cultural inheritance with loads of money. Therefore, pilot combing of the development of Wan Wan Opera, sorting and studying the existing performance material, analyzing the performance and living situation of folk troupes is the focus of this dissertation.This dissertation is divided into four chapters. Chapter 1 concerns the combing and dividing of Wan Wan Opera’s headstream, which hasn’t been mentioned in any relevant papers before. The writer hopes it can found the basis for further research in future. Chapter 2 studies the list of plays of Wan Wan Opera. After respectively discussing folding dramas and grand dramas, it gives detail evaluation combining different performing circumstance. Chapter 3 is the study about performing arts of Wan Wan Opera - from the particularity shown in plastic arts, producing technics, performance appearances and music to draw rudimentary conclusion on the experience of moving Wan Wan Opera to theatre. The last chapter sorts the interviews with entertainers. The purpose is to objectively record the existence of primitive opera and to prepare material for protecting this kind of art from dying.The research on Wan Wan Opera not only refracts the development path of local operas, but also provides an individual case for small operas. Meanwhile, it means a lot for ceaseless opera innovation.更多还原