【刘洪艳】当代历史文化视野中的吕剧艺术研究
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当代历史文化视野中的吕剧艺术研究
The Art Research on Lvju in Contemporary Historical and Cultural Field of Vision
【作者】刘洪艳
【导师】曾繁仁
【作者基本信息】山东大学，文艺学，2008年，博士
【摘要】 中国戏剧界很早就有“南昆、北弋、东柳、西梆”四大古剧,其中“东柳”泛指的就是山东的地方戏曲。由此可见,山东的地方戏曲历史悠久,在中国戏曲史上占有重要的地位,在山东境内先后曾有几十个具有山东地方特色的戏曲种类流行。在这些丰富多彩的山东地方剧种当中,吕剧距今已经有近100年的历史,它以其淳朴生动的语言,优美悦耳的唱腔,丰富多彩的音乐语汇而深得广大人民群众喜爱,不仅发展成为山东最大的地方戏剧种,而且还成为中国八大地方剧种之一。吕剧是在山东琴书这一说唱艺术的基础上,以“凤阳歌”为曲调母体,借鉴山东其他地方民间表演艺术形式发展而来的,它是山东省特别是黄河三角洲区域文化发展的产物,同时又在齐鲁文化的大背景下成熟、定型,包含浓厚的文化底蕴。但是,由于种种原因,直至目前对吕剧艺术的全面研究仍然比较缺乏,多数研究仅仅停留在吕剧艺术的起源、音乐特征以及表演等方面,而对吕剧艺术自身丰富的文化内涵的分析非常欠缺。因此,本文将从文化的视角出发,以文化人类学的学术视野和基本理论来研究吕剧艺术。全文共分导论、正文四章和结语三部分内容。导论论述本文选题原因与意义、国内外研究现状、研究思路、方法和本文创新之处。选题原因之一是吕剧艺术作为中国重要的非物质文化遗产,是中国尤其是山东传统文化的有机组成部分,具有重大的历史和现实价值。选题原因之二是当前吕剧艺术的研究现状。本文借鉴文化人类学的基本理论和方法研究阐释与吕剧艺术有关的美学问题和审美现象,使美学的抽象思考建立在扎实的人类学的实证调查和丰富材料之上,激活美学对民间审美传统和本土问题的思考。同时,本文还将边缘的、民间的艺术纳入美学研究的视野中,试图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,有利于美学吸取来自边缘的、民间艺术的审美经验。同时,吕剧又是山东的代表剧种之一,其文化是整个齐鲁文化的缩影,因此对吕剧艺术的研究有利于加深对齐鲁文化的整体认识。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,积极借鉴经典人类学、民族音乐学、音乐人类学和音乐社会学的研究成果,系统、深入地探索吕剧艺术的生成、审美特征、文化功能,以及由吕剧艺术的兴衰折射出来的文化变迁和社会变迁。至于本文的创新之处主要就是突出了文化的维度,力图从文化的大视野来观照吕剧艺术,研究吕剧艺术自身所包含的丰富的文化内涵。包括吕剧艺术的物质文化(乐器以及与乐器有关的社会文化)、制度文化(乐制、律制及音乐的创作表演体制)、精神文化(超越性追求、审美意识、精神指向和族性心理特征)等,尽量关涉到吕剧艺术文化内涵的所有层面。第一章主要研究吕剧艺术的生成问题。本文从发生学和文化人类学的角度出发,梳理出吕剧艺术由人类生存危机下的功利性的表达到非功利性的抒情的演变过程。在吕剧艺术的生存背景和历史语境中进行宏观的理论反思,对吕剧艺术进行从源到流的追踪,在对吕剧艺术众多源流说进行历史和多方面的论证后,笔者提出了“多源综合说”。本文还探究吕剧艺术的地缘文化背景以及文化历史渊源,从吕剧艺术的流行地域可见其既呈现出地缘文化的地理的乡土特征,又呈现出黄河三角洲民间文艺的丰富意蕴。同时,本文还试图在掌握尽可能多的历史事实的前提下,设法勾勒和描绘出吕剧艺术在其发生时期的原始形态,进而努力探寻鲁北人民之所以要创造出吕剧艺术这种精神生活方式和精神生产产品的原始动机、心理状态和文化背景,揭示出吕剧艺术最原初因而且是最内在的规定性,从而最终揭示出吕剧艺术的丰富艺术内涵,即实现吕剧艺术的本质内涵的人类学还原。第二章主要研究吕剧艺术自身所具有的独特的“齐鲁乡土美”的审美特征并对其进行溯源。本文把吕剧艺术放在山东齐鲁文化大背景中,结合吕剧创作(含剧目、文本和曲调)、吕剧演出(含服装和舞台表演)和吕剧音乐实践以及吕剧的接受传播归纳出吕剧艺术所具有的独特的“齐鲁乡土美”的审美特征,并且详细阐述这种审美特征主要包含以下四个表征:1、乡土题材的道德旨趣;2、素朴无华的民间叙事;3、柔婉哀怨的音乐风格;4、风格各异的流派特色。其后,笔者又仔细地从吕剧艺术赖以生成、成熟、定型、繁荣的山东地域环境出发,从中国文化地理学视角对其“齐鲁乡土美”审美特征的形成进行溯源,得出齐鲁文化中的“仁”的伦理传统、山东人敦厚的群体性格特征以及淳朴的齐鲁民俗浸透是吕剧艺术“齐鲁乡土美”艺术品格形成的根脉,也是吕剧艺术“齐鲁乡土美”风格延续至今的根柢所在。第三章主要研究吕剧艺术的历史文化变迁以及当代生存危机。从对它的前身琴书、在乡村的存在与发展、进入中心城市以后的成熟以及20世纪50年代繁荣时期的文化生态研究入手,运用个案研究的方法,通过对吕剧艺术重要的历史事实的介绍,结合其兴盛的社会和文化等原因加以分别的研究,以求动态地展示吕剧这一剧种的审美历史文化变迁。在对吕剧艺术的生存现状进行实地普查后,笔者提出在当今的社会文化形态中,吕剧艺术有两种生态环境、两种不同的文化背景以及两种不同的形态共时存生,即依附于乡村文化背景中的庄户剧团呈原生形态;依附于城市文化背景的国家编制剧团表现为一种变异形态,这个变异形态指的是在原生形态之上的吸收、改编与“正规化”。通过对这两类现象考察结果的比较研究,得出吕剧艺术至今依然十分兴盛,庄户剧团依然是目前吕剧演出的主体,以及乡村依然是吕剧艺术主要的生存背景的主要结论,从而印证了在社会维护背景中个体成员的适应与体验。最后结合吕剧艺术的当下生存状态分析得知吕剧艺术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,另外,本文还将从审美传统变迁、吕剧艺术自身审美特征与当下主流娱乐文化特征的矛盾等多角度探究吕剧发生危机的根源。第四章主要研究吕剧艺术的当代生存价值以及文化生态重建问题。从宏观的美学理论或文论重建以及发展的角度观照吕剧艺术在当代文化研究视野中的生存现实,从吕剧艺术作为重要的非物质文化遗产的角度出发,得出吕剧艺术在当下生存环境中所具有的精神文化价值、社会凝聚价值、娱乐价值、教育价值、经济价值等多元价值,并进而提出吕剧艺术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,提出诸如建立吕剧生态博物馆、建立吕剧“人类活财富体系”、建立吕剧网络博物馆、建立吕剧网络剧团等多项传承和保护措施,以及吕剧艺术应借鉴当前国内外一切可以借鉴的文化艺术,以开放的精神加以选择、吸收、融化,重点从吕剧艺术的传承保护和吕剧艺术的发展变革两个方面探讨下吕剧的文化生态重建问题。结语主要研究当下时代和文化背景中吕剧艺术对山东审美文化所特有的价值意义。本文从全球化、地方性知识以及文化多样性的角度出发,结合吕剧艺术在当下民间生存的现实,提出吕剧艺术在当今乡土文化圈中所具有的重要的“文化自足”意义,并进而探究吕剧艺术之于我们今天的审美文化具有怎样的价值意义。得出吕剧艺术至今仍然活在我们的现实生活中,尤其是很多乡村人民还仍然活在吕剧艺术的年代,只要生活继续,吕剧艺术也在继续的结论。
【Abstract】 There are four kinds of famous ancient play in Chinese opera field since it is very early. One of those is Shandong's local opera. It can be seen that Shandong's opera played an important role in the Chinese opera history. Shangdong's opera has a long history, diverse and colorful, many of them are full of shangdong' local characteristics. Altogether there are several dozens types to be popular successively in history. Lvju has a long history, more than 100 years. By its unique tune, performance, and dance, Lvju has attracted many people's judgments, not only developed into the biggest local opera in Shandong, but also became one of the eight famous local opera in china. Lvju based on the traditional art form -Qinshu, adopted "Fengyang song " as its main tune, and profited from other folk performing arts forms. It was the outcome of culture development of shangdong province, especially of Yellow River delta. Meanwhile it was influent by the whole QiLu culture. So Lvju has deeply culture foundation. However, for some reason, predecessors study to Lvju was not very completely, most of those study remained on the origin, music characteristic, performance, and some other aspects of Lvju. The study and analysis on Lvju's Cultural connotation is very defective. Therefore, this article will embark from the cultural angle of view, studies Lvju by the cultural anthropology's academic idea and the elementary theory. The full text is divided into four chapters, plus an introduction and a conclusion.The introduction elaborate the origin and the significance of this topic, the present situation of Lvju research, the mentality, the method and this innovates of this article. One of the causes that I select this topic is Lvju's survival condition at present. The other cause is the present situation of Lvju 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. Lvju is one of Shandong's representative kinds of drama, its culture is miniature of the entire QiLu culture, the research on Lvju is advantageous to understand the QiLu overall culture deeply. This article will try to explore the production, the esthetic characteristic, the cultural function, as well as cultural change and social change reflected by the prosperity and the decline of Lvju. The innovation of this article mainly manifests in the prominent cultural field of vision. The author will try to contemplation Lvju from the cultural vision, to research Lvju's material culture (musical instrument as well as society culture related with musical instrument), Lvju's system culture (music system, rhythm system and creation performance system), Lvju's Spiritual culture (transcendent pursue, esthetic consciousness, spiritual direction and race psychological feature) and so on. All the aspects that Lvju concerns culture are involved in my research.The first chapter mainly research Lvju's generation. Embark from the embryology and cultural anthropology's angle, combs Lvju's successional variation process which is from utilitarian expression under the human survival crisis to the non-utilitarian expresses feelings. The author try to carry on the macroscopic theory reconsideration to Lvju's survival background and historical environment, carry on historical tracing form source to branch of Lvju, and carry on historical and various prove to Lvju's numerous viewpoints concerns with sources and courses. Afterward, the author proposed the viewpoint of multiple source syntheses. Inquired into that the Lvju geography cultural context as well as the cultural history origin, we can find that the Lvju's popular region present the geography character of the geography culture, and Lvju is the outcome of the Yellow River delta folk literary arts' multiple fermentations. With massive historical fact, the author will try to outline and to describe the Lvju's primitive shape. then inquires about and extrapolates the primitive motive, the psychology and the cultural context that the people in the north part of shangdong diligently to create this spiritual life way and the intellectual production. The firstly formation reason of Lvju is Lyju's most intrinsic regulation in to a great extent. Thus, the artistic essence of Lvju can be revealed finally. The process exactly realizes Lyju's art, essence, anthropology return to original state.The second chapter mainly research Lyju's aesthetic characteristic. Placing Lvju in QiLu culture big background, combining Lyju's creation (including text and melody), Lyju's performance (including clothing and stage) and the Lyju's music practice as well as Lyju's dissemination and accepts, the author conclude Lyju's unique esthetic characteristic which mainly includes the following several attributes: 1st, the theme orientation of moral practice rational; 2nd, the simple plain folk narrates; 3rd, the music style which is gentle, graceful and plaintive; 4th, all the schools has its unique characteristic. Afterward, starting from Shandong region environment which caused Lyju's production, mature and stereotype, by the view of Chinese culture geography, the author carries on the tracing to Lyju's local flavour. The end result is that "the kernel" cultural tradition of QiLu, honest community disposition characteristic of shangdong native as well as the simple and honorable QiLu folk custom percolation is the origin that forms the Lyju's rural beauty of QiLu, is also the origin that Lyju's rural beauty of QiLu continue to this day.The third chapter mainly research Lvju historical vicissitude as well as contemporary survival crisis. In order to demonstrat a kind of drama's esthetic historical culture vicissitude, the author utilizing case study's method, combining society and culture and other reasons caused its prosperous, carries on the introduction and analysis to the important Lvju historical fact which conclude Its predecessor Qinshu, its existence and development in the village, as well as its prosperous time's cultural ecology in the 1950s. After the general survey in the spot to Lyju's survival present situation, the author propose an viewpoint that in now social culture shape, Lvju exists simultaneously two kinds of ecological environment two different cultural context as well as two kinds of. The two kind different shapes is primary shape and variation shape. The folk theatrical troupe attached to the village cultural context present primary shape. The national theatrical troupe attached to the civic culture background present variation shape and this variation shape refers to reorganization on the basis of primary shape. Through contrast study to the two kind of phenomenon, the author draws the conclusion that Lvju is still very prosperous at present, the folk theatrical troupe is still the main body in Lvju performance at present, as well as the village is still Lvju main survival background. Finally, in the current expense society, Lvju is the edge situation, its valid status facing approval crisis. The author will inquire into crisis's root of Lvju from esthetic traditional vicissitude, the contradiction between Lvju own esthetic characteristic and mainstream entertainment culture characteristic, and some other angles.The fourth chapter mainly research Lvju contemporary survival value and the cultural ecology reconstruction. Contemplate Lvju's survival reality from the angle of the reconstruction of macroscopic esthetics or literature theory, attach importance to Lvju energetic cultural value, the social cohesive value, the entertainment value, the educational value, the economic value, and so on multi-dimensional measure of value, then draw the conclusion that Lvju has multi-dimensional value to people's presently survives, and then proposes the importance of Lvju ecologically-conscious culture reconstruction. Afterward, unifies the fact that Chinese and foreign play's development, the author proposed some protective measures, such as establish Lvju ecology museum, establish Lvju"the human live wealth system", establish Lvju network museum, establish Lvju network theatrical troupe, and so on. As well as some
【关键词】 吕剧; 生成; “齐鲁乡土美”; 文化变迁; 文化生态重建
【Key words】 Lvju; Generation; Rural Beauty of QiLu; Cultural Changes; Cultural ecology reconstruction
【网络出版投稿人】山东大学 【网络出版投稿时间】2008-11-25 【网络出版年期】2009/01
【DOI】CNKI:CDMD:1.2008.189898 【分类号】J825 【下载频次】115 攻读期成果
