【作者】 李爽；

【导师】 毛小雨；

【作者基本信息】 河南大学 ， 戏剧与影视学， 2022， 硕士

【摘要】 位于豫鄂陕三省交界处的淅川县,县境西北与陕西商南相连,西南与湖北郧县、丹江口、老河口毗邻,素有“陆通秦晋,水达吴楚”之称。淅川县不仅是荆楚文化和中原文化的交汇地,其文化血脉中也流淌着秦风晋韵。其所孕育出的曲剧姓“淅”,是南阳曲剧的一支。淅川曲剧以南阳大调曲子为母体,吸收当地民歌小调以及山陕眉户戏、豫剧、越调等剧种发展而来。本文由绪论、正文、结语三大部分组成,正文分为四章内容。绪论部分主要介绍笔者将淅川曲剧作为研究对象的原因及意义。笔者因为一次偶然的机会前往淅川县拜访邢树青老师,才得以了解淅川曲剧的前世今生。由于在采访过程中梁铁柱、邢树青、吴彦青、欧莲英、张学增、刘蕾花等老师对于淅川曲剧的热爱与坚守令笔者大为感动,回校后内心久久不能平静,最终将淅川曲剧研究作为研究生毕业的论文选题。笔者之后便广泛搜集文献、聆听唱片录音,确立了关于淅川曲剧的研究思路。第一章是淅川曲剧溯源。首先从淅川的地理人文环境等方面展开分析,从淅川县下寺楚“令尹子庚”墓中出土的汉白玉排箫、编钟等古代乐器以及楚地重视民间巫歌巫舞来看,证明了淅川古代戏曲、乐舞历史之久远。淅川县荆紫关镇历史悠久,八省商会林立,促进了各地的戏曲艺术在此交汇。建国之初,淅川县有百余座古戏楼遗存。与此同时,淅川的民歌资源丰富,是河南民歌艺术中的一朵奇葩。其中以锣鼓曲、蛤蟆嗡和丹江号子最具代表性。其次,淅川曲剧的母体即为南阳大调曲子,淅川曲剧的奠基人梁香阁受教于南阳大调曲子曲圣汤印候,淅川曲剧《王宝钏》《天河配》等剧目较多运用大调曲子的完整曲牌。最后,淅川曲剧与山陕眉户戏关系紧密,由南阳大调曲子和陕西关中曲子发展而来的淅川曲剧和山陕眉户戏因其地理位置相近,曲种之间的交流与融合则更为明显。第二章为淅川曲剧社团状况。从淅川曲剧早期班社中可以窥见淅川曲剧登台时间及其最初的面貌。淅川曲剧早期班社呈现出人数少、活动范围局限于县域之内等特点,演出剧目多为《狐狸仙闹书馆》《花庭会》《安安送米》等骨子老戏。淅川县曲剧团作为县级专业剧团,涌现出梁香阁、毛文炳、邸怀亮、梁铁柱、邢树青、吴彦青等一大批知名编导、演员。淅川县曲剧团历史上最为辉煌的一段时期是《彩楼配》到五本连台戏《王宝钏》的上演,名演员和优质剧目推动着淅川曲剧走向了辉煌。第三章为淅川曲剧代表性剧目研究,选取淅川县曲剧团最为经典的《王宝钏》《天河配》展开分析。曲剧《王宝钏》不仅被鲁山县曲剧团、平顶山市曲剧团、南阳市曲剧团、洛阳市曲剧团、河南省曲剧团等先后移植改编,还被豫剧、越调、道情、二夹弦等剧种搬演,影响深远。然而这部佳作难以适应当下的曲剧舞台演出,笔者在正文中对其进行了点滴思考。曲剧《天河配》作为梁香阁先生最具代表性的一部剧作,无论是从剧本构思方面还是音乐创作方面都是可圈可点的。第四章则从淅川曲剧的现状及传承保护方面展开研究。围绕淅川县曲剧团当下的演出状况进行分析,剧团在下乡演出亦或是戏曲进校园时不再只演曲剧,而是曲剧、豫剧、越调、鼓儿哼、歌舞等共同演出,这种做法虽是为了满足基层百姓文化需求多样性的需要,但却背离了淅川县曲剧团的建团初衷,从而不利于淅川曲剧的弘扬和发展。传承和发展淅川曲剧,不能忘记为淅川曲剧做出贡献的老一辈艺人。经典剧目的复排、青年人才的培养以及紧随时代发展,不断改革创新都是必要的。更多还原

【Abstract】 Located at the junction of the three provinces of Henan,Hubei,Shaanxi and Xichuan County,the county’s northwest and Shaanxi Shangnan connected,southwest and Hubei Utopia County,Danjiangkou,Laohekou adjacent,known as "land through Qin and Jin,water up to Wu and Chu".Xichuan County is not only the intersection of Jingchu culture and Central Plains culture,its cultural lineage also flows with the Qin wind and Jin charm.It is a branch of Nanyang Qu Opera.Xi Chuan Qu Opera is based on Nanyang’s major tunes,and has been developed by absorbing local folk songs and ditties,as well as Shan-Shaan Meitou Opera,Han Opera(Er Reed Opera),and Yue Tun.This paper consists of three major parts: introduction,text,and conclusion,and the text is divided into four chapters.In the introductory part,the author introduces the reasons and significance of Xichuan opera as a research object,and composes the research results of previous people through extensive data collection.The author visited Xing Shuqing in Xichuan County by chance and was able to understand the past life of Xichuan opera.During the interview,I was moved by the love and perseverance of Liang Tiezhu,Xing Shuqing,Wu Yanqing,Ou Lianying,Zhang Xuezeng,Liu Leihua and other teachers for Xichuan opera,and I could not calm down after returning to school.After that,I collected a wide range of literature,listened to recordings,and established a research idea about Xichuan opera.The first chapter is about the origin of Xichuan opera.The first chapter analyzes the geographical and humanistic environment of Xichuan,from the ancient musical instruments such as the Han white jade reed pipes and bells excavated from the tomb of the "Yin Zigeng" of Xichuan County and the importance of folk witch songs and witch dances in the Chu area,which proves the long history of ancient opera and music and dance in Xichuan.The town of Jingziguan in Xichuan County has a long history,with eight provincial chambers of commerce,promoting the intersection of the art of opera in this area.At the beginning of the founding of the country,there were more than one hundred ancient opera buildings remaining in Xichuan County.At the same time,the folk songs in Xichuan are rich in resources and are a wonder in the art of folk songs in Henan.Among them,the gong and drum songs,toad buzzing and Danjiang horn are the most representative.The founder of Xichuan opera,Liang Xiangge,was taught by Tang Yinhuo,the sage of Nanyang major tunes,and the repertoire of Xichuan opera,such as "Wang Baoshu" and "Heavenly River Matching",uses more complete tunes of major tunes.Finally,the relationship between Xichuan opera and Shan-Shaan Meidu opera is close,and the exchange and fusion between Xichuan opera and Shan-Shaan Meidu opera is more obvious because of their geographical proximity.The second chapter is the status of the Xi Chuan opera societies.From the early Xi Chuan opera societies,we can get a glimpse of the time when Xi Chuan opera was on stage and its initial appearance.The early Xi Chuan opera troupes were small in number and limited in scope of activity to the county,and most of their plays were old plays such as "Fox Fairy Haunting the School","Flower Court Meeting" and "An An Sends Rice".As a county-level professional troupe,the Xichuan County Opera Troupe has produced a large number of famous choreographers and actors,such as Liang Xiangge,Mao Wenbing,Di Huailiang,Liang Tiezhu,Xing Shuqing and Wu Yanqing.The most glorious period in the history of Xichuan County Qu Opera Troupe was the staging of "Cailou Matching" to the five consecutive plays "Wang Baoshu",with famous actors and quality plays driving Xichuan Qu Opera to glory.The third chapter is a study of representative Xi Chuan opera repertoire,and the most classic Xi Chuan opera "Wang Baoshu" and "Tianhe Matching" are selected for analysis.The opera "Wang Baosushi" has been transplanted and adapted by the Lushan Qu Opera Troupe,the Pingdingshan Qu Opera Troupe,the Nanyang Qu Opera Troupe,the Luoyang Qu Opera Troupe,and the Henan Qu Opera Troupe,and it has also been performed by the Yu Opera,the Yueh Tune,the Dao Shu,and the Er Jie Xin.However,this masterpiece is difficult to adapt to the current Qu Opera stage performance,and the author has given some thoughts to it in the text.As one of the most representative works of Mr.Liang Xiangge,the opera "Tianhe Matching" is remarkable both in terms of script conception and music composition.The fourth chapter is a study of the current situation of Xi Chuan Qu Opera and its heritage protection.This is to meet the needs of the grassroots people in terms of cultural diversity,but it is a departure from the original purpose of the Xichuan Qu Opera Troupe,which is not conducive to the promotion and development of Xichuan Qu Opera.Inheritance and development of Xichuan opera,can not forget the contribution of the old generation of artists for Xichuan opera.The rehearsal of the classic repertoire,the training of young talents and the constant reform and innovation are necessary to keep up with the development of the times.更多还原