【作者】 李连生；

【导师】 刘崇德；

【作者基本信息】 河北大学 ， 中国古代文学词曲学， 2003， 博士

【摘要】 本文将弋阳腔划分为三个阶段，发生期、形成期和成熟期，分别对应着三种不同的戏曲形态，即诗赞体、曲牌体和板腔体。弋阳腔发生期的戏曲形态是诗赞体，即弋阳腔是在诗赞体的戏曲形态基础上成长起来的戏曲样式，后接受佛教俗讲梵呗及民间说唱艺术影响，逐渐摆脱原始宗教戏剧形态，向曲牌联套体戏曲发展，在南诸宫调的直接推动下形成南戏声腔。并经过进一步发展，保留诗赞体戏曲的若干因素，在吟诵调、齐言体和帮腔的基础上，产生了滚调。滚调的重要作用和意义不仅是突破了曲牌联套的限制，还在于为向板腔体音乐过渡起了中介和催化剂的作用。同时从曲牌和曲谱上看，弋阳腔已经有了“定腔乐汇”和“以腔传辞”的特征，是曲牌体向板腔体的过渡形式。弋阳腔影响到弦索腔、梆子腔和皮黄腔等以弦乐伴奏剧种的产生，在弋阳腔、弦索腔、梆子腔和皮黄腔这些剧种声腔里，板式变化逐渐完备和走向成熟。 本论文共分五章：绪论。介绍本论文的研究动机、目的、方法、材料以及研究现状，并简述论文的主要内容与观点。第一章明代弋阳腔的声腔源流。本章将明代弋阳腔置于中国古典戏剧和南戏产生的历史背景中，考察弋阳腔的发生形态，将其分为不同时期的三种形态，并分别探讨此三种形态的弋阳腔的发展历程，及考证其与傩戏、宗教、说唱艺术、北曲、弦索调和其它声腔的关系等诸多问题。第二章弋阳腔与南戏诸腔变体之关系。考述弋阳腔与其它明代流行声腔诸如青阳腔、四平腔、乐平腔、徽州腔、太平腔、义乌腔、潮泉腔、调腔等之间的嬗递、从属、分合等关系。第三章明代弋阳腔的艺术形态。主要考察明代弋阳腔与众不同的特色，如帮腔、伴奏、滚调、曲牌、表演等艺术形式的来源、发展及其作用。第四章明代弋阳腔剧目。重点整理有明一代弋阳腔的剧本与剧目，力求全面、合理、准确地作出归纳。并通过对其盛演剧目内容和版本的考辨，比较其与明代文人传奇的不同等，来揭示其独特的社会内涵、道德观念、文学思想以及影响等。第五章明代弋阳腔对后世的影响。主要考察弋阳腔在后世的流传，对板腔体戏曲产生的重要促进作用和影响，及其剧目在后世的流传。更多还原

【Abstract】 We classify the Yiyang Qiang Operal (弋阳腔) as three stages, that is, the Shizan Operal (诗赞体) , the Qupai Operal (曲牌体) and Banqiang Operal (板腔体) . In the first stage, the artistic form of Yiyang Qiang Operal was as same as Shizan Operal which was like the Nuoxi Operal (傩戏) , later on, it went further into Qupai Operal by learning from the Buddhist Chants (梵白) and folk operal, and at last evolved into the Nanxi Operal (南戏) promoted directly by the Southern Zhugong Diao (南诸宫调). During the above period, Gundiao (滚调), one of the artistics of Yiyang Qiang Operal, not only broke through the limit of Qupai Operal, but also became the medium or Catalyst during the transitional stage into Banqiang Operal. the Yiyang Qiang Opera) also exerted a great influence on the formation of Xiansuo Operal (弦索调), Bangzi Operal (梆子腔) and Pihuang Operal (皮黄), all of which are accompanied with stringed musical instruments.The whole dissertation consists of five chapters. The Introduction is about the motive,aim,method,data,the main contents and viewpoints ,and the present situation of research on the Yiyang Qiang Operal. The Chapter One is about the the source and origin of Yiyang Qiang Operal how it comes about is observed and studied. The Chapter Two is an overall inspection of the Nanxi Operal,and the relationship ,which how it evolved,to whom it subordinated , and ’with whom it seperated and combinated, between Nanxi Operal and its viarieties, such as Qingyang Operal,Siping Operal,Huizhou Operal and Chaoquan Operal etc.which was prevalent as same as Yiyang Operal during that time.The Chapter Three is concentrating on a reseach of Yiyang Operal’s characteristics, which are respectively expounded as Bangqiang (帮腔) , Gundiao (滚调), Qupai (曲牌) Accomoaniment and Performance, concerned with their origin, development and function. The Chapter Four makes a thorough analysis and summary of the list of plays performed by Yiyang Qiang Operal in Ming Dinasty, pointing out the differences between the Scholar’s Chuanqi(文人传奇) and the Yiyang Qiang Operal, in which the social connotations, the moral senses and literary minds -the Yiyang Qiang Operal’s distingushing features ,are probed through the comparison and analysis.The Chapter Five is paid a great deal attantion to the spread and influence on the later generations by Yiyang Qiang Operal of Ming Dinasty, which promoted the born and formation of Banqiang Operal in Qing Dinasty.更多还原