戲曲「紅梅記－李慧娘」之跨劇種研究;A Cross-Genre Study of the Chinese Opera Lady Plum Blossom---Li Hui-Niang

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题名:	戲曲「紅梅記－李慧娘」之跨劇種研究;A Cross-Genre Study of the Chinese Opera Lady Plum Blossom---Li Hui-Niang
作者:	李元皓
贡献者:	中央大學中國文學系
关键词:	語文;紅梅記;李慧娘;身段譜;戲曲改革運動;Lady Plum Blossom;Li Hui-nian;dance notation;Drama Reform
日期:	2008-09-01
上传时间:	2012-10-01 11:37:11 (UTC+8)
出版者:	行政院國家科學委員會
摘要:	「戲曲『紅梅記－李慧娘』之跨劇種研究」是為期一年的專題研究計畫，目的是藉由單一主題個案的流變，探討傳統戲曲在不同戲曲劇種當中的發展與變化，如崑劇、川劇、秦腔、河北梆子、京劇、粵劇、潮劇、黃梅戲、越劇等，並將此發展置入戲曲史、近代史的大脈絡當中，以檢視戲曲與外在世界的互動關係，俾便利吾人從單一個案的深入研究，得到更具普遍性的認識。本計畫可分為以下三個部分：一、為戲曲表演的發展，目前所能看到的河北梆子《紅梅閣》、秦腔《遊西湖》、京劇《李慧娘》之表演身段譜，從身段譜的脈絡研究表演發展的邏輯。二、為戲曲主題的發展，經由崑劇《紅梅記》、河北梆子《紅梅閣》、秦腔《遊西湖》、京劇《紅梅閣》、崑曲《李慧娘》、粵劇《再世紅梅記》之主題變化，從外在世界的變遷，討論主題變化的動力。例如1961 首映崑曲《李慧娘》成為無產階級文化大革命時期點名批判的三大毒草之一，說明了戲曲主題的變化，取決於戲曲改革運動的政治意識型態；與此同時在香港首映的粵劇《再世紅梅記》兩相比較，即可討論主題變化的外在因素。三、綜合表演與主題，可以見到兩者相互影響的關係，從崑劇《紅梅記》到河北梆子《紅梅閣》，表演選擇主題加以發揮；從河北梆子《紅梅閣》到崑曲《李慧娘》，則是意識型態選擇主題與表演方式。透過研究此一個案，有助於吾人更準確地理解戲曲發展的複雜性，以便能夠更周延地歸納戲曲發展的規律。 ; “A Cross-genre Study of the Chinese Opera Lady Plum Blossom—Li Hui-niang” is a one-year project plan discussing the transformation of a certain case with an aim at the development and variation of different opera genres of Chinese opera, such as Kun opera, Sichuan opera, Qinqiang, Hebei Bangzi, Peking opera, Cantonese opera, Chaozhou opera, Huangmei opera and Yue opera. The development of Chinese opera was juxtaposed with its history and modern history to examine the interrelation between Chinese opera and its surrounding environment, and via this in-depth case study the universal knowledge can be achieved. The project was divided into three parts: (1) the development of the theatrical performance of Chinese Opera, which was a context study of the currently accessible dance notations: Hebei Bangzi Red Plum Pavilion, Qinqiang Visiting the West Lake and Peking opera Li Hui-niang, and which help one understand the course of the development of theatrical performance. (2) The development of the theme of Chinese opera, which varied into Kun Opera Lady Plum Blossom, Hebei Bangzi Red Plum Pavilion, Qinqiang Visiting the West Lake, Peking Opera Red Plum Pavilion, Kun Opera Lady Plum Blossom and Cantonese opera Reincarnation of Lady Plum Blossom. The theme variation was discussed along with the mutation of its surrounding environment. For example, Kun opera Li Hui-niang premiered in 1961 had become one of the three major poisonous weeds fustigated by the proletariat during the Cultural Revolution. This accounted for the fact that the theme of Chinese opera was modified in accordance with the political ideology of the Drama Reform. Comparing Li Hui-niang to Cantonese opera Reincarnation of Lady Plum Blossom premiered in Hong Kong, the external factors that caused the change can be drawn. (3) Viewing the theatrical performance and theme as a whole, their mutual interaction was overt. From Kun opera Lady Plum Blossom to Hebei Bangzi Red Plum Pavilion, the performance was motivated by the more liked theme; from Hebei Bangzi Red Plum Pavilio to Kun opera Li Hui-niang, the theme and the performance were modified with distinct ideologies. This case study helped to clarify the intricacies of the way Chinese opera had developed, so that the course of the development can be deduced in a more thorough manner. ; 研究期間 9710 ~ 9807
關聯:	財團法人國家實驗研究院科技政策研究與資訊中心
显示于类别:	[中國文學系 ] 研究計畫

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