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題名 | 「亂彈」探析=The Exploration of "Luan-Tan"(亂彈) |
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作者 | 徐亞湘; Hsu, Ya-hsiang; |
期刊 | 華岡藝術學報 |
出版日期 | 19970600 |
卷期 | 4 1997.06[民86.06] |
頁次 | 頁90-115 |
分類號 | 982.2 |
語文 | chi |
關鍵詞 | 亂彈; |
中文摘要 | 地方戲自清初形成發展至今已近三百年,這段期間內「亂彈」一詞一直如影相隨 ,不過,長期以來,「亂彈」此一戲曲名詞的概念、涵意、用法相當紛雜,向無嚴格規範, 常隨不同的歷史時期及不同的使用場合而各異,以致造成相關研究及引用上的困擾與錯誤發 生。有鑑於此,本文擬拉高論述視野,從戲曲聲腔發展史的角度關照,剖析亂彈於各個歷史 時期不同的定義與範圍,試解其身份之謎,紛陳其歷史面貌;繼之將全中國有「亂彈戲」別 名的刻種做一歸納整理,其可概分成北方演唱梆子腔的「梆子亂彈」、浙江演唱三五七及二 凡的「浙江亂彈」及南方演唱西皮、二黃的「皮黃亂彈」三大亂彈腔系,期使亂彈家族譜系 能較清晰完整地呈現;最後,論述身為亂彈戲家族一員的臺灣亂彈戲與大陸東海路豐西秦戲 、閩西漢劇及廣東漢劇間的關係,嘗試為其尋根溯源,正其身、釋其疑,以補臺灣戲曲史之 不足。 |
英文摘要 | It has been three hundred years since the local Chinese opera formed and devel-oped. In this period, the Chinese opera term, "Luan-tan"( 亂彈 ),is often used.However, for a long time, the definition and the usage of "Luan-tan" is very com-plicated. Its meaning changed with different historical periods and different situa-tions; it often makes confused in related studies. Therefore, this essay tries to analysis the different definition of "Luan-tan" in different periods from the aspect of history of Chinese music of opera development. A Key Method to clarify the relation of "Luan-tan" genealogy is to divide all op-era called "Luan-tan" in China into three systems: "Bang-zi-Luan-tan"( 「梆子亂彈」 ) in the north of China; "Zhe-jiang-Luan-tan"( 「浙江亂彈」 )in the province of Zhe-jiang( 浙江 ); 閑 "Pi-huang-Luan-tan" (「皮黃亂彈」 )in the south China. Finally, by discussing the relation between "Luan-tan" in Taiwan and traditional opera of Gung-dong (廣東 ) and Fu-jian (福建 ) province in Mainland China, like "Xi-gin-xi" (西秦戲 ),"Min -xi-han-ju"( 閩西漢劇 ),and "Gung-dong-han-ju"( 廣東 漢劇 ),I hope to realize more how th e"Luan-tan" in Taiwn begins and what it is , and can make up a deficiency for the history of Taiwan opera. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。