【摘要】：月令承應(yīng)戲是清宮承應(yīng)戲中的一種重要類型。本文以文獻(xiàn)學(xué)方法為基礎(chǔ),結(jié)合傳世劇本和檔冊(cè)記載,對(duì)其相關(guān)情況進(jìn)行研究,全文分為五章。第一章,回顧一個(gè)多世紀(jì)以來學(xué)界對(duì)清宮月令承應(yīng)戲的研究狀況,進(jìn)而確定本文研究對(duì)象——清宮月令承應(yīng)戲,將其定義為清宮內(nèi)廷在歲時(shí)節(jié)令慣常上演,內(nèi)容與該節(jié)令風(fēng)俗典故密切相關(guān)的戲曲,并據(jù)此提出判斷月令承應(yīng)戲的三條主要標(biāo)準(zhǔn):一是演出時(shí)間是否相對(duì)集中于某一節(jié)令時(shí)點(diǎn);二是曲文話白中是否直接點(diǎn)明某一節(jié)令;三是演出內(nèi)容是否帶有特定節(jié)令習(xí)俗的明顯烙印。第二章,從形成淵源、演戲節(jié)令、傳世劇目、類型劃分等四個(gè)方面,對(duì)清宮月令承應(yīng)戲的整體概況進(jìn)行梳理。依據(jù)文本體制特點(diǎn),追溯其形成淵源。通過對(duì)伴有月令承應(yīng)戲演出節(jié)令的辨析,了解清宮月令承應(yīng)戲的演出背景,就清宮月令承應(yīng)戲的外延進(jìn)行界定。在此基礎(chǔ)上,對(duì)傳世劇目和劇本作以盤點(diǎn)。同時(shí),基于不同的演出特點(diǎn),以儀典戲和觀賞戲?qū)υ铝畛袘?yīng)戲作再度劃分,便于更好把握其各自特質(zhì)。第三章,從劇本形制、劇本種類、改編方式、劇本特色等四個(gè)方面,對(duì)清宮月令承應(yīng)戲劇本的相關(guān)情況進(jìn)行梳理。首先從劇本的外觀、書寫形式、書寫內(nèi)容、題名變化等方面,對(duì)劇本作以直觀了解。之后,對(duì)劇本中存在的總本、角本、曲譜、串頭(排場)、串關(guān)、題綱(提綱)、鼓板等7種不同類型排演本以及安殿本作以界定。立足閱讀所得,以刪、改二字,對(duì)劇本的改編情況作以概括,并著眼劇本的內(nèi)容,以點(diǎn)明月令的應(yīng)景性、主圣世昌的頌贊性、蘊(yùn)含豐富的民俗性、滑稽搞笑的娛樂性等四者,作為對(duì)清宮月令承應(yīng)戲劇本內(nèi)容特色的歸結(jié)。第四章,從參演人員、排練演習(xí)、演劇管理、搬演特色等四個(gè)方面,對(duì)清宮月令承應(yīng)戲的演出情況進(jìn)行梳理。圍繞演出的人從哪來,怎么進(jìn)行表演訓(xùn)練,如何組織演出等方面,從演出層面來認(rèn)識(shí)和把握清宮月令承應(yīng)戲。并根據(jù)實(shí)際演出情況,以演出陣容龐大、演出場所宏闊、演出裝扮精致、演出擺列圖案等四者,作為對(duì)清宮月令承應(yīng)戲劇本演出特色的歸結(jié)。第五章,選取端午承應(yīng)戲《闡道除邪》開展個(gè)案研究,從演出劇本、演出情形、演出地點(diǎn)、承應(yīng)人員、行頭砌末、演出形式等六個(gè)方面,對(duì)《闡道除邪》進(jìn)行全面考述。
[Abstract]:Yue Ling Chengying Opera is an important type in Qing Palace Chengyue Opera. Based on the method of philology, this paper studies the relevant situation of screenplay and documentary record, which is divided into five chapters. In the first chapter, the author reviews the research situation of the Qing Dynasty's lunar order in the past more than a century, and then determines the research object of this paper, namely, the Qing Dynasty's lunar order, which is defined as the customary performance of the Qing Dynasty's imperial court at the age of the Qing Dynasty. The content is closely related to the festival custom allusions of the opera, and based on this, three main criteria for judging the Yuelingcheng opera: first, whether the performance time is relatively concentrated in a certain seasonal point; The second is whether a certain section is directly pointed out in the lyrics and the third is whether the content of the performance is marked by the custom of a particular season. The second chapter, from the formation of the origin, acting season, handed down the repertoire, classification and other four aspects, the Qing Palace month Ling Chengying the overall situation of the general situation of combing. According to the characteristics of text system, the origin of its formation is traced back. Through the differentiation and analysis of the period of the performance with the month of the Qing Dynasty, the background of the performance of the month of Qing Palace is understood, and the extension of the month of the Qing Palace is defined. On this basis, the history of plays and plays for an inventory. At the same time, on the basis of different performance characteristics, the Yue Ling Chengying Opera is further divided into classical and ornamental operas in order to better grasp their respective characteristics. The third chapter, from the script form, the script type, the adaptation way, the script characteristic and so on four aspects, carries on the combing to the Qing palace month order Chengying drama the related situation. Firstly, the script is intuitively understood from the aspects of its appearance, writing form, writing content, title change and so on. After that, it defines seven different types of rehearsals, such as total text, angle text, music score, string head, outline, drum board and so on. Based on the reading income, to delete, change two characters, to summarize the adaptation of the script, and to focus on the content of the script, to point out the scene of the moon, the praise of the Lord Saint Shichang, the rich folklore, the funny entertainment, etc. As a summary of the characteristics of the content of the Qing Palace Yue-Cheng-ying drama. The fourth chapter, from the participants, rehearsals, performance management, acting characteristics of four aspects, to the Qing palace month Chengcheng drama performance. Around where the performers come from, how to perform training, how to organize performances, from the performance level to understand and grasp the Qing palace month Chengcheng opera. And according to the actual performance situation, the performance lineup is huge, the performance place is broad, the performance dress is exquisite, the performance arranges the pattern and so on, as the resolution to the Qing palace month Chengcheng drama performance characteristic. The fifth chapter selects the Dragon Boat Festival Chengyue drama "expelling evil ways" to carry out a case study, from the performance script, the performance situation, the performance place, the support personnel, the costume masonry, the performance form and so on six aspects, carries on the comprehensive research to "expelling evil way".
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.37

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