【作者】 刘晓林；

【导师】 延保全；

【作者基本信息】 山西师范大学 ， 戏剧戏曲学， 2012， 硕士

【摘要】 辽南地区，旧时俗称“管王之地”。从地域上来讲，辽南地区主要包括今天的大连市、瓦房店市、普兰店市、大石桥市、庄河市、长海县、营口市、海城市、盖州市和岫岩县总共10个县市区。在上个世纪60年代的时候国家曾在这里设立了辽南专属区。因三国时期的管宁、王烈等来自山东的学着来到这里讲学，使得这里的文化与其它地区产生了很大的差异，故将此地称为“管王之地”。随着明清时期经济文化交流的不断加深，来自中原地区的皮影戏也渐渐传入辽南地区，并且根据自身的地方特色，形成了具有独特艺术价值的“辽南皮影戏”。本篇论文主要从九个方面对辽南皮影戏展开具体的论述。引言部分主要是概说了中国皮影戏的历史。第一部分介绍了辽南皮影戏的历史渊源和它的发展，首先讲述了中国皮影戏对辽南皮影戏的产生所起的作用；其次写了辽宁皮影戏经过一代一代艺人们的不断探索和创新，逐渐发展起来的过程。第二部分主要是从头茬、戳子、砌末、场片这四个方面介绍了辽南皮影戏的艺术造型。第三部分从文本的角度讲述了辽南皮影的影卷创作；从音乐和演唱方面介绍了辽南皮影的唱腔风格，并且详细阐述了它经历了“诵经调”时期、“联曲体”时期和“板腔体”时期这三个历史阶段。第四部分介绍了辽南皮影戏的唱腔，首先概括了它的三种唱腔，分为大嗓、小嗓、阴阳嗓，然后更细致深入地讲述了九种不同的板腔形式。第五部分阐述了七字赋、三顶七、十字赋、五字锦、赞、搭拉句子、三字赋这七种不同的唱词，以及辽南皮影戏在音乐节奏上所进行的革新。第六部分介绍了辽南皮影六种不同的演出形式和表演技巧。第七部分阐述了辽南皮影独特的艺术造型和制作工艺，即以驴皮作为皮影的主要加工材料，以中影人作为辽南皮影主要的人物造型。第八部分主要介绍了辽南皮影戏转变为辽南影调戏的过程与发展，辽南影调戏对皮影从唱法、伴奏唱腔方面进行了音乐上的革新。第九部分介绍了辽南皮影戏中不同的皮影派别，并以辽南皮影中颇具代表性的复州皮影戏为例，对其进行详细地阐述。更多还原

【Abstract】 LiaoNan area was called“Guanwang’s land”in acient time. Itmainly includes ten counties and cities, those are Dalian, WaFangDian,PuLanDian, DaShiQiao, Zhuang He, Chang Hai, Ying Kou, Hai Cheng,Gai Zhou and You Yan. An exclusive district was established here in1960s. During the three kingdoms’period, GuanNing, WangLie cameto Shandong giving lectures, and this made the local culture differentfrom that in other areas. This is the reason why this area was called“GuanWang’s area”. With the development of economic and cultureexchange in Ming and Qing dynasty,“Shadow Play”from Central Plainwas brought to Liaonan area, and transformed into“Liaonan shadowplay”with special art value according to local characteristics.This paper will discuss“Liaonan shadow play”from nine parts. Theintroduction is history of Chinese shadow play. The first Chapter ishistory and development of Chinese shadow play, including theinfluence of Chinese shadow play had on Liaonan shadow play andexploration and innovation of Liaonan shadow play devoted by manygenerations of art men. The second chapter is an introduction of artmodels in Liaonan shadow play from four aspects: First chop,Stamp,Finely chopped and Field-chip. The third Chapter is aboutcreation of Liaonan shadow play from music and performance aspectand gives a detailed illustration of three historical stages itexperienced. The forth Chapter is introduction of ways of singingincluding which can be further divided into nine kinds of Bigvoice,small voice ,Yin and yang throat. The fifth Chapter is aboutdifferences among the seven kinds of lyrics and innovation on rhythmof Liaonan shadow play. The sixth Chapter introduces six differentforms and skills of performance of Liaonan shadow play. The seventhChapter is about the models in Liaonan shadow play and theprocedure of manufacturing shadows. The eighth Chapter states howLiaonan shadow play transformed into Liaonan fromSinging,Accompany and so on. The ninth Chapter introduces differentclassifications of Liaonan shadow play and takes Fuzhou shadow playas an representative example for detailed illustration of Liaonanshadow play.更多还原