【作者】 何飞雁；

【导师】 曾繁仁；

【作者基本信息】 山东大学 ， 文艺学， 2010， 博士

【摘要】 彩调是在湘南花鼓戏的基础上广泛吸收融合了广西民间文艺而不断丰富发展起来的地方小戏。它形成于清末民初,流传于广西各地及毗邻的广东、湖南、云南、贵州等地,是广西现存流行区域最广、最受人民喜爱的剧种之一。彩调富于浓郁的八桂地域特色和民族特色,是八桂文化的重要载体。但纵观目前彩调的研究现状,多数研究停留在彩调剧的起源、音乐特征以及表演特色等方面,也有从民俗文化的角度对其进行研究的,而对彩调自身丰富的审美文化内涵的分析比较欠缺。因此,本文从审美文化的视角对彩调进行全面、深入、系统的研究,以弥补学术界对彩调研究的不足。全文共分导论、正文五章和结语三部分内容,约20万字。导论部分论述本文选题原因与意义、国内外研究现状、本文研究视角和研究方法。选题原因之一是彩调作为我国重要的非物质文化遗产,是我国尤其是广西传统文化的有机组成部分,具有重大的历史和现实价值。选题原因之二是将边缘的、民间的艺术纳入美学研究的视野中,可以突破以往美学研究主要对主流艺术、经典艺术进行形而上思考从而总结出某种审美原理的传统,纠正以往美学研究中的西方中心主义和汉民族中心主义所带来的理论偏差,有利于美学吸取来自边缘的、民间艺术的审美经验,激活美学对民间审美传统和本土问题的思考,拓宽美学研究的视野和领域。在研究方法上,本文采取田野调查与文献阅读相结合的方法、整体研究和比较研究相结合的方法以及多学科交叉兼容的方法,以文化人类学的理论为基础,积极借鉴美学、文艺学、民族学、历史学、宗教学、地理学、音乐学、民俗学的研究成果,对彩调的形成与发展、彩调的文化渊源、审美特征、彩调剧目的思想文化内涵和艺术特色、彩调的生存现状与发展出路等进行全面系统的研究。本文的创新之处主要就是突出了审美文化的维度,以此视角研究彩调自身所包含的丰富的审美文化内涵。第一章主要研究彩调的形成与发展。本文从发生学和文化人类学的角度出发,对彩调进行了从源到流的梳理,在对彩调众多源流说进行分析之后,认同于彩调源于湘南花鼓戏的说法,并对两者之间的历史渊源关系进行了具体的论证。自清末民初形成后,彩调的发展经历了兴盛、衰落、复兴三个阶段。接着,本文还从艺术流派的形成与区域文化的关系来探究彩调,得出彩调在广西各地流传和发展的过程中,由于受不同区域文化的影响而形成桂北、桂中、桂西南三个独具特色的支派的结论。桂林自古以来有着求知重学的文化传统,而桂北又是桂剧、文场的盛行区,桂北彩调历史较长,发展较早,文学性较强,有着较高的技艺性,受桂剧、文场的影响也较深；桂中是多民族聚居之地,因此桂中彩调善于吸收各民族的语言以及民间歌舞入戏,呈现的“歌舞”味更浓；桂西南是壮族聚居之地,自古有着崇武尚勇的民风,因此桂西南彩调擅演武戏、大戏,受粤剧、壮剧的影响较深。第二章主要研究彩调的文化渊源和文化结构。彩调源于湘南花鼓戏,因此其早期剧目、唱腔、行当表演等与湘南花鼓戏有着密切的文化渊源。彩调在广西流传与发展的过程中又深受八桂民间文艺的影响。彩调戏俗、剧目内容、音乐表演等与岭南巫傩文化有着密切的关联；彩调题材、音乐唱腔、演唱形式等深受广西民间歌舞的影响；广西文场、零零落、渔鼓、桂剧、粤剧、师公戏等曲艺、戏曲剧种也对彩调产生了重要影响,它们共同构筑和丰富了彩调的文化积淀,使彩调成为有别于湘南花鼓戏的具有广西地方特色和民族特色的戏曲剧种。第三章主要研究彩调的审美特征。本文把彩调放在八桂文化大背景中,结合彩调剧目、表演和音乐对其审美特征进行探讨。彩调呈现出轻松愉快的总体风格,被称为“快乐的剧种”,具体表现在优美抒情的戏剧场景、诙谐风趣的喜剧色彩、载歌载舞的表演形式以及清新明快的音乐风格上。同时,彩调诞生于广西这一多民族聚居区域,它在剧目内容上展示了丰富的广西各民族风情习俗,反映了民族的审美心理和审美情趣,塑造了具有鲜明民族性格的人物形象,在形式上善于把各民族的语言、音乐、舞蹈等融入其中,因而具有浓郁的广西民族特色和地方特色。其后,笔者又从彩调赖以生成、发展、定型、繁荣的广西地域环境出发,从中国文化地理学视角对彩调审美特征的形成进行溯源,得出中国本土抒情文化的影响、秀美的八桂自然山水的孕育,丰富多彩的八桂民间文艺的渗透以及节日民俗的浸润是彩调审美特征形成的根脉,也是彩调延续至今的根柢所在。第四章主要研究彩调剧目的发展概貌、文化内涵及艺术特点。本文对彩调剧目的五个发展阶段(对子调——江湖调——大调子——传统剧目的整理改编——现代剧目的创编)的题材来源、情节结构、音乐特色以及表演等进行具体的分析,以求动态地展示彩调剧目的审美历史文化变迁。彩调是八桂文化的重要载体,其剧目富于丰富的八桂文化思想内涵,对于我们了解广西的政治、经济、社会历史、宗教信仰、审美取向、日常生活、民风民俗有着重要作用,其中的爱情婚姻戏生动展现了当地倚歌择偶、婚恋自主的文化意蕴；“三学”、“五子”戏是特定时代民众的文化心理和人情心态的体现,同时也反映了当时社会风气和下层社会各色人等的生存境况；道德伦理戏体现了平民百姓的善恶标准和价值取向,是民间道德规范的折射,同时也明显受到儒家教化思想的影响；神鬼戏与广西民间浓厚的崇巫信鬼的文化传统有着紧密的联系。彩调剧目在艺术特色上充分体现了其作为民间小戏的特点。选材上以反映农民的劳动生活、爱情生活和家庭生活为主,极少历史题材戏、才子佳人戏,圣君贤相戏。在情节结构上具有结构单纯、情节集中的特点,往往采取单纯简明的方法,以小见大,通过截取日常生活中的一个片段,表现重大的主题。在戏剧冲突上,不追求尖锐复杂的矛盾冲突,而是尽力挖掘日常生活中的喜剧因素,通过抒情性的富有意味的唱、舞、做、念和生动的细节来刻画人物,营造欢快喜庆的舞台气氛。第五章主要研究彩调的生存现状与发展出路。在对彩调的生存现状进行实地普查后,笔者认为彩调在当下主要有三种生存方式,即与民俗活动紧密结合的形式存在,以民间文化娱乐活动的形式存在,与文化节庆活动和文化旅游相结合的形式存在。通过对这三种生存方式考察结果的比较研究,得出在民俗活动中的演出至今依然是彩调生存的主要方式,乡村依然是彩调主要的生存背景的结论。然后结合彩调的当下生存状态分析得知彩调在当下的合法性地位有了认同危机,处于当前消费社会的边缘处境,并从审美风尚变迁、彩调艺术自身的局限性以及其与当下主流娱乐文化特征的矛盾等多角度探究彩调发生危机的根源。接着从宏观的审美文化理论角度观照彩调在当代文化研究视野中的生存现实,从彩调作为重要的非物质文化遗产的角度出发,得出彩调在当下生存环境中所具有的历史文化价值、精神价值、娱乐价值等多元价值,并进而提出彩调生态文化重建的重要性。其后,结合中外戏剧发展的事实,借鉴全球非物质文化遗产保护的先进经验,提出诸如加强对彩调传承人及彩调生存环境的保护、加强乡土文化教育,提高民众的文化自觉、把彩调的保护与合理的开发利用相结合、强化剧团的“生产自救”意识等多项传承保护和发展变革的具体措施。结语部分从现代化、全球化以及文化多元化的当下时代和文化背景出发,结合彩调探讨本土文化、民间文化对于当代美学建构的价值和意义。更多还原

【Abstract】 The Caidiao opera of guangxi is based on Huaguxi in southern hunan,and profited from other folk performing arts forms of Guangxi. It is formed in the late Qing and early Republican periods, spreads in Guangxi and its adjacent parts such as Guangdong,Hunan,Yunnan and Guizhou. Caidiao has attracted many people’s judgments, not only developed into one of the biggest local opera, but also became one of the most popular opera in Guangxi. Caidiao is full of Guangxi’local characteristics and ethnic characteristics,and is an important carrier of Bagui culture. However, for some reason, predecessors study to Caidiao was not very completely, most of those study remained on the origin, music characteristic, performance, or from the perspective of folk culture to study it. The study and analysis on Caidiao’s aesthetic and cultural connotation is very defective. Therefore, this article will embark from the aesthetic and cultural angle of view,try to studie Caidiao comprehensively and systematicly.The full text is divided into five chapters, plus an introduction and a conclusion,about 200,000 words.The introduction elaborate the definition of related concepts,the origin and the significance of this topic, the present situation of Caidiao research, the perspective, the method and this innovates of this article. One of the causes that I select this topic is Caidiao’s survival condition at present. The other cause is the present situation of Caidiao research. This article advocated that profits from the concept system, the method and the material of cultural anthropology to explanation esthetics question and the esthetic phenomenon, causes the abstract ponder of esthetics established on real diagnosis investigation and the rich material of anthropology, activate esthetics ponder to folk esthetic tradition and native place question. At the same time, this article also believed that integrates the edge and the folk art into the vision of esthetics research, may break through the esthetics research tradition which is mainly carry on the metaphysical ponder to the mainstream art, the classical art so as to summarizes some esthetic principle, and may favor esthetics absorpt esthetic experience that from the edge and the folk. Caidiao is one of Guangxi’s representative kinds of drama, its culture is miniature of the entire Bagui culture, the research on Caidiao is advantageous to understand the Bagui overall culture deeply. This article will try to explore the production, the esthetic characteristic, the cultural connotation, as well as cultural change and social change reflected on Caidiao. The innovation of this article mainly manifests in the prominent aesthetic and cultural field of vision. The author will try to research Caidiao’s aeshtetic and culture connotation.The first chapter mainly research Caidiao’s generation and development. Embark from the embryology and cultural anthropology’s angle, the author try to carry on historical tracing form source to branch of Caidiao, and carry on historical and various prove to Caidiao’s numerous viewpoints concerns with sources and courses. Afterward, the author agree the viewpoint that Caidiao is based on Huaguxi in southern Hunan,and then discuss the historical origins of the relationship between them. Since its formation,Caidiao has experienced prosperity,decline and revival of three stages.The arthor also explore Caidiao from the relationship between art schools and regional cultures,come to the conclusions that there are three different brances of Caidiao,which is due to the impact of different cultures in Guangxi.Firstly,guilin has the culture traditions for knowledge since ancient times,so Caidiao schools of northern Guangxi has a high art in artistic as well as literary.And then, northern Guangxi is the prevalance of Guiju and Wenchang,so its Caidiao schools is deeply influence by both of them.Secondly,center Guangxi is a multi-ethnic place,so its Caidiao schools is good at absorb the language of various ethnic groups,as well as folk songs and dances into the drama,showing a distinctive feature in the "dance"flavor.Thirdly,southwest Guangxi is adjacent to Guangdong,and also inhabited by the Zhuang ethnic,so its Caidiao schools is greatly influenced by Yueju ang Zhuangju.The second chapter mainly research the cultural origins and cultural structure of Caidiao. Caidiao is based on Huaguxi in southern Hunan,so its early repertoire,music as well as performances is deeply influenced by it.Meanwhile,with the process of spreading and developmenting in Guangxi,Caidiao is greatly influenced by its folk literature and art forms such as folk song and dance,hip-hop arts,drama and so on.This makes it a distinctive Guangxi local characteristics and ethnic characteristics operas,which is different from Huaguxi in southern Hunan.The third chapter mainly research Caidiao’s aesthetic characteristic. Placing Caidiao in Bagui culture big background, combining Caidiao’s repertoire, Caidiao’s performance and the Caidiao’s music practice as well as Caidiao’s dissemination and accepts, the author conclude Caidiao’s unique esthetic characteristic as "happy operas",which mainly includes the following several attributes:1st, the beautifully lyrical drama scenes; 2nd, the witty and funny comedy features; 3rd, the singing and dancing performance; 4th, the fresh and bright style of music. Meanwhile,Caidiao was born in the region inhabited by lots of ethnic minorities in Guangxi,so it shows the contents of a rich repertoire of Guangxi minority customs,reflecting the nation’s psychological and aesthetic taste,shaping distinctive national character image,absorping lots of minority languages,music and dance,which is rich in national characteristics and local characteristics of Guangxi.Afterward, starting from Guangxi region environment which caused Caidiao’s production, mature and stereotype, by the view of Chinese culture geography, the author carries on the tracing to Caidiao’s local flavour. The end result is that the influences of lyric local Chinese culture,the birth of beautiful natural eco-environment of Bagui,the penetration of colorful folklore as well as the infiltratione of folk festivals is the origin that forms the Caidiao’s aesthetic characteristic, is also the origin that Caidiao’s performance continue to this day.The fourth chapter mainly research the development of Caidiao’s repertoire,its cultural connotation as well as artistic features.In order to dynamically display the aesthetic and cultural change of Caidiao’s repertoire,the author make a specific analysis to its five stages of development,including its subject sources,plot structure,music features as well as performances.Caidiao is an important reflecting to the culture of Bagui.It plays an important role for us to understand the political,economic,social history,religion,aesthetic orientation,daily life and folk customs of Guangxi.The repertoire about love and marriage is a vivid display of the local love customs with folk songs as the media,and making choices itself on love and marriage. The repertoire about "sanxue"and "wuzi" reflectes the prevailing social values and the survival of people in a variety of social situations.The moral and ethics drama reflectes the civilian’s standards of good and evil,but is also significantly impacted by Confucian. The repertoire about bourne and ghost is closely related to its strong beliving in ghosts,which has became an important cultural tradition in Guangxi. The artistic characteristics of Caidiao’s repertoire is fully reflected as it is a folk opera.Firstly,it mainly reflects on the working life,love life and family life of farmers.Secondly, it has simple structure and focus on the characeristics of the plot.Thirdly,for the theater of conflict,it does not pursue the complex contradictions,but try to tap the comedy factor in daily life and vivid details to describe characters.The fifth chapter mainly research Caidiao’s contemporary survival status and its prospects. Contemplate Caidiao’s survival reality from the angle of the reconstruction of macroscopic esthetics or literature theory, attach importance to Caidiao energetic cultural value, the social cohesive value, the entertainment value, and so on multi-dimensional measure of value, then draw the conclusion that Caidiao has multi-dimensional value to people’s presently survives, and then proposes the importance of Caidiao ecologically-conscious culture reconstruction. Afterward, unifies the fact that Chinese and foreign play’s development, the author proposed some protective measures, such as enhance the protection of Caidiao’s living environment and its heritagers,strengthen the education about local culture to improve people’s cultural consciouaness,combine Caidiao’s protection and its rational utilization,enhance the theater’s "seif-sufficiency" awareness, and so on.The conclusion mainly research the value and significance of local culture to the construction of contemporary aesthetics. In the modernization, globalization and cultural diversity of contemporary age and cultural background, local cultures as well as traditional and folk cultures has its great value and significance.更多还原