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明中晚期社会转型及礼乐环境变迁,导致戏神信仰依赖“建祠”而显现,官方演剧与民间演剧进一步接通。晚明以老郎庙为代表的戏神庙的涌现,表明艺人之间自由、频繁的流动一方面确保了礼乐一体的传统,另一方面使地方教坊及乡村演剧的音声形态发展步入更为广阔的空间,并呈现缤纷样态:戏剧因“仪式性”和“观赏性”的功能分化,而呈现出形态上“戏”(戏剧性)与“曲”(强调音乐性)的双重发生学意义。清代梆子腔戏神由老郎向庄王的转变标志着乐籍禁除后,声腔地方性的认同强化及地方声腔腔种意识的抬头,系“国家认同”向“地方性认同”的转变。
The social transformation in the middle and late Ming Dynasty and the changes in the environment of ritual and music led to the dependence of the goddess of faith on “building ancestral temples”, and the official drama and folk drama further connected. The emergence of the drama temple represented by Lao Lang Temple in the late Ming dynasty shows that the free and frequent flow among the artists ensures the tradition of ritual and musical integration on the one hand and the development of the sound patterns of local parish and rural drama on the other hand Into a broader space, and show a variety of styles: drama due to “ritual ” and “ornamental ” function differentiation, showing a morphological “drama” (dramatic) and “(Emphasis on musicality) double the significance of the school. The transition from Lao Lang to Zhuang Wang in the Qing Dynasty was marked by the change of Lao Lang to Zhuang Wang. After the exclusion of the music genre, the local identification of the vocal cords and the rise of the local vocal consciousness were localized to the ”national identity“ ”Change.