【作者】 秦思；

【导师】 萧梅；

【作者基本信息】 上海音乐学院 ， 音乐学， 2013， 博士

【摘要】 少数民族戏曲是中国众多戏曲中独具特色的一部分,在中国戏曲艺术这个色彩纷呈的百花园中展现着与众不同的艺术魅力。由于它是一门集歌、舞、故事等多方面因素于一体的艺术,其综合的艺术性质决定了我们在对其进行研究时势必要采用多方面的资料和综合的研究方式,才能够较全面地体现其本质及内涵。然而,这些多重的资料都是单一分散的个体,每一个个体都体现着戏曲的不同面,只有将其整合放置于同一历史过程之中,它们才具有关联性和互证性,才能够使戏曲的画卷由平面变为立体。而戏曲本身,作为历史的载体,也因此成为我们了解中国音乐、文化乃至社会的过去与现在的重要切入口之一。从研究方法而言,其历时与共时兼具的特质,为我们提供了立体研究的可能性。通过这种在历史过程中观察对象,在多重资料中构建历史的研究方式,我们既可以勾勒对象的过去和历史,也可以看到其动态的变迁过程,更能够在此基础之上以整个社会和历史过程为背景,探讨和挖掘其存在于历史以及当下的各种现象,并分析牵扯其中的各种关系。因而,本文即以“历史变迁”为视角,将流行于云南省大理地区的吹吹腔戏放置于历史变迁的过程中进行观察。从第二章至第四章,笔者将与吹吹腔戏相关的历史资料、近现代文献著作、戏曲文物、历史传说、生存环境以及在田野调查中所得到的口述资料相结合,将吹吹腔戏从形成到发展的历史过程按照其身份的转换分为三个节点,并分别从演出团体、演戏环境、表演程式、表演形式、音乐构成、剧本来源、剧目创编、演戏习俗、社会功能、存在身份、存在方式、生存维度等多个方面对吹吹腔在这三个阶段的历史面貌、发展轨迹进行论述,从整体上勾勒出吹吹腔戏自形成至今,发展、延续、反哺的历史变迁过程。由此,笔者从中抽提出吹吹腔戏在这一历史过程中所显现的包括其形成、声腔源流、身份转换、存在方式与认同、音乐与地方感、多重生存维度在内的一系列问题及音乐文化现象,并在历史变迁中逐一进行分析和阐释。在此基础之上,笔者进一步延伸,通过吹吹腔戏在历史变迁过程中所显现的构成基因以及生存景观来探讨少数民族戏曲的共性特征,并以本文的研究为基础,从“历史变迁”和“综合性”切入,对少数民族戏曲的研究视角和方法进行思考,希望不仅为吹吹腔戏的研究填补研究空缺、开阔研究视角和层面,更能为少数民族戏曲音乐的研究提供一个具有参照性理论价值和意义的个案。更多还原

【Abstract】 As a part of the great variety of the traditional Chinese operas (xiqu), the regional operas of the ethnic minorities are shining with their unique glamour. In the study of such operas, the nature of this artistic synthesis of singing, dancing and narrative requires a comprehensive approach with all kinds of material and sources available. It is far from enough to only examine the isolated individual sources, which represent different sides of the same type of opera. Only when placed in the same historical process can they form a network of relationships and thus provide a whole picture of the subject in question. In this way, the regional operas can serve as an important perspective to understand the music, culture and society, past and present, of China.This methodology has both the diachronic and synchronic dimensions. By way of observing the subject in the historical process and constructing the past from multiple materials, we can not only delineate the history and vicissitude of the subject, but also explore and analyze all kinds of relevant phenomena and their relationships against the historical and social background.From the perspective of vicissitude, this dissertation examines in the historical context chuichuiqiang, a regional opera popular in the region of Dali, Yunnan Province. From the second to the fourth chapter, with all the sources available, ranging from historical material, literary documents in modern times, related cultural relics, legends and myths, environment of existence to the oral material gained through field work, the author divides the history of this opera into three periods according to the transformation of its identity. Each period is discussed in various aspects, including the performing groups, music, sources of librettos, the creation and arrangement of the repertory, and the custom, circumstances, formulas and forms of the performance, as well as its social function, identity, and ways of existence. All these help to outline the historical process of the formation, development, and continuation of this particular kind of opera.The discussion is especially organized by a series of problems surrounding the opera, such as the formation, the origin of the vocal styles, the transformation of the identity, the ways of existence and identification, music and the sense of the regional, multiple dimensions of existence.Based on the research above, the author tries to generalize the common features of the regional operas of ethnic minorities in general. Moreover, it is hoped that this case study not only draws more attention to chuichuiqiang, but also inspire the reflection on methodology employed in the research of regional operas of ethnic minorities.更多还原