摘要
1949年以前,客家族群中的赣南采茶戏的传统表演方式有与灯彩民俗相结合的自乐班表演和有盈利性质的“三脚班”表演两类。1949年以后,国家将戏曲纳入社会整体发展规划,赣南采茶戏的演出生态和艺术形态发生全面变化。它由农村进城,走上了剧种“现代化”的历程,国营剧团成为演出主体。20世纪80年代以来,出现草台班、撂地艺人、趣缘群体等多元民间力量与国营剧团并存的格局。近年来,赣南采茶戏的表演呈现二元结构:国营剧团表演面向现代、面向城市,主要向大戏、现代戏和歌舞剧的方向发展;而草台班的表演则主要面向传统、面向乡村,仍以搬演传统戏为主,其原因在于剧种的快速“现代化”和以乡村为主体的赣南地域社会的“现代化”步伐不尽同步。
Before 1949,there were two kinds of traditional performances of Tea-picking Opera in Hakka ethnic group in South Jiangxi,which were self-entertaining group performances combined with“the Tripod Group”performance of lantern color folk custom and profit-making.Since 1949,the national government has brought the opera into the overall social development plan,and the performance ecology and artistic form of Tea-picking Opera in South Jiangxi has changed in an all-round way.From the countryside to the city,it has embarked on the course of“modernization”of dramas,and the state-owned troupe has become the main performance.Since the 1980s,there has been a pattern in which the grass-rooted group,abandoned artists,interest groups and other folk forces coexist with the state-owned troupes.In recent years,the performance of Tea-picking Opera in South Jiangxi presents a dual structure:the performance of state-owned opera troupes is oriented to the modern and the city,and mainly develops to the direction of grand opera,modern drama and song and dance drama;while the performance of grass-rooted group mainly faces the tradition and the countryside,and still mainly performs the traditional operas.The reason lies in the rapid“modernization”of drama types and“emergence”of regional society with rural as the main body the pace of modernization is not synchronous.
作者
王静波
WANG Jingbo(Chinese National Academy of Arts,Beijing 100029,China)
出处
《龙岩学院学报》
2020年第6期33-40,共8页
Journal of Longyan University
基金
国家社科基金艺术学青年项目“南方歌舞小戏的形态发生与谱系分类研究”(20CB165)。
关键词
赣南采茶戏
艺术形态
传承群体
Tea-picking Opera in South Jiangxi
art form
inheritance group
