【作者】 乔丽；

【导师】 俞为民；

【作者基本信息】 南京大学 ， 戏剧戏曲学， 2005， 硕士

【摘要】 中国古典戏曲是民族文化瑰宝,具备文学和艺术的双重特质,具有鲜明的民族特色。本文以古典戏曲舞台脚本中的科诨为主要研究对象,通过几个方面进行相关研究。绪论主要是对戏曲舞台本的界定和对戏曲科诨概念的解释,确定了研究对象的范畴。第一章交代戏曲科诨的渊源,探讨中国古典戏曲成熟之前的表演形式对其产生的影响。首先说明中国古典戏曲很注重喜剧情境的创造,这也是中国人乐天精神的具体体现。其次说明先秦俳优的滑稽调笑、汉唐的参军戏、宋杂剧、金院本以及宋元南戏中的制造笑声的表演技巧和手段对后世戏曲科诨产生的重要影响。第二章是本研究的核心。首先,在大量阅读、整理舞台本作品中的科诨的基础上实地考察科诨的存在样式,进行一定总结,找出一定的相对规律。本章首先将科诨分为以语言制造科诨为主和以动作制造科诨为主两大类,每一大类下再细分小类进行考察。另外根据科诨与全剧情节结构的关系分为两类,一类是与情节密切相关的科诨,着眼点在于科诨的功能,故放在第三章中论述;另一类是与情节无关或关系不大的科诨,这里着重总结相关的表演样式。本章研究目的在于使科诨的面貌更清晰地呈现在人们面前。第三章在第二章总结科诨套式的基础上对科诨在戏曲作品尤其是舞台本作品中的重要的功能和地位及其原因进行切实地分析,具体通过调节舞台气氛和戏剧节奏、塑造人物形象、调整情节结构、 解决舞台实际问题四个方面来论述说明。最后的第四章在前文论述的基础上提出了舞台本中科诨以俗为美而又强调自然的风格特色。全文层层推进,从舞台本中的科诨的存在面貌到其功能作用再到其风格特色,从科诨本身出发研究科诨,从科学态度出发考察科诨。更多还原

【Abstract】 This paper takes the buffoonery in theatrical works of traditional opera asthe research subject, which is valuable in the realm of literature and art of the Chinesenation. The traditional opera owns twofold characteristic of literature and art. This paperstudies the buffoonery from four crucial points. The exordium explains the concept of thebuffoonery in theatrical works and demarcates the class of the two concepts. The origin ofthe buffoonery and the performances before the traditional opera came to maturity arediscussed in the Chapter 1, which had great influence on the buffoonery. First, thetraditional opera is full of the optimistic and comedic sprit. Second, the actor in the pre-Qindynasty and the Can-ju Xi in Han and Tang dynasty, the Zaju in Song dynasty, the Yuanbenin Jin dynasty, the Nanxi in Song and Yuan dynasty exert great influence on the buffooneryof the traditional opera. Chapter 2 is the core of the paper, which summarizes subsistenceof the buffoonery in theatrical works. First, on the basis of doing a lot of reading andaccording to language use or action use which makes funny, we divide the buffoonery intwo classes, and several subclasses. And according to the relationship between thebuffoonery and the dramatic structure, we divide the buffoonery into two ways. One hasclose relation with the structure and pays attention to the function of the buffoonery, so weput it into Chapter 3 to discuss. Another has nothing to do with the structure and paysattention to the performances. On the basis of Chapter 2, Chapter 3 analyses the importantfunctions and status of the buffoonery in theatrical works, and discusses the problem fromfour points: how to adjust the aura on the stage and the rhythm of the performances, how tofigure vivid characters, how to adjust the structure, how to solve the practical problems onthe stage. Chapter 4 propounds the style of the buffoonery in theatrical works, theearthliness and naturalness are the most valuable and obvious features.更多还原