摘要
20世纪五六十年代随着国家戏剧改革运动的开展,山西孝义木偶戏经历了由国家艺术体制到市场主导的变化,表演团体从学徒制转变为学校教育制。孝义木偶戏与碗碗腔发生了表演方式上的融合,具体表现为木偶戏在剧本创作、舞台表演、板式、乐器等方面对碗碗腔的戏剧元素的吸收与融汇,并逐步将其发展为主要唱腔。总体上孝义木偶戏的演出市场、传承机制、木偶戏艺术本体都呈现出多样的社会特征。文章在田野调查与文史资料的对读中分析山西孝义木偶戏在新时期的传承与创新,并以艺人口述资料作为补充,对孝义木偶戏中的碗碗腔元素做出阐释,尝试推演出民间文化的内在传承特征。
With the development of the national drama reform in the 1950s and 1960s,the Xiaoyi puppet show has experienced a change from a country-led management system to a market-oriented management system,and witnessed a transition from apprenticeship to school education in team organization.The Xiaoyi puppet show has incorporated many elements of Wanwan opera in terms of script,performance,rhythm,instrument,and so on.The Wanwan opera has gradually become the main singing style of the Xiaoyi puppet show.Overall,the Xiaoyi puppet show has diverse characteristics in performance market,inheritance mechanism and art ontology.This paper analyzes the inheritance and innovation of the Xiaoyi puppet show in the new period and its elements of the Wanwan opera based on field investigation,literature review and oral materials of artists.
作者
卫才华
陈宛妮
WEI Caihua;CHEN Wanni(School of Chinese Language and Literature,Shanxi University,Taiyuan 030006,China)
出处
《中北大学学报（社会科学版）》
2020年第2期8-17,25,共11页
Journal of North University of China：Social Science Edition
基金
国家社科基金项目：太行山说书人的生活史与礼俗社会互动研究(15BSH006)
关键词
木偶戏
碗碗腔
孝义
民间艺术
puppet show
Wanwan opera
Xiaoyi
folk art
