论明清福建家族文化视阈下戏曲的生存与发展  

On the Existence and Development of Traditional Drama in the Visual Threshold of Ming & Qing Fujian Family Culture

作　　者：杨丽霞[1] 

机构地区：[1]集美大学音乐学院

出　　处：《戏剧（中央戏剧学院学报）》2012年第3期86-97,共12页Drama:The Journal of the Central Academy of Drama

基　　金：教育部人文社会科学项目"闽台北管音乐研究"(11YJA760086);福建省社会科学规划项目"明清时期福建戏班研究"(2011B167);福建省教育厅人文社会科学A类项目"南腔北调--闽台北管音乐源流研究"(JA11171S)之阶段性成果

摘　　要：明清时期商品经济的发展、动荡的海域政策与频繁的乡族械斗进一步巩固了福建聚族而居的习俗。在兴儒重教的风气下,理学与儒学的伦理价值、文化规范,渗透并融合到福建各地方社会、宗族组织之当,地处边陲的福建对于中原文化的正统性始终心生仰慕,戏曲艺术被冠以诲淫诲盗而受到普遍轻视。但对于贫乏而低层次的家族文化生活而言,演剧不仅在家族祭祀酬神、迎神赛会、禳灾驱邪等活动中扮演着重要角色,也成为家族对外炫耀势力的一种手段,从而形成戏剧、家族文化生活及民间信仰相互结合的基本特征。The development of commodity economy,the turbulent marine policy and frequent fights among clans in the Ming Qing Dynasties further consolidates the convention of assembled settlement of clans in Fujian.The Confucian and Neo-Confucian ethic and cultural criteria has become prevalent in Fujian＇s local society and all family organizations,and the orthodox culture of the midland,which despises the traditional drama as blasphemous and profane,has long been admired in the coastal region of Fujian.Yet to families of the lower classes such performances play an important role in their otherwise dull cultural life—in rituals of offerings and worship,in fairs and contests,and become a way of displaying the family＇s influence.Hence a fundamental characteristic of the development of traditional drama is the combination of clan＇s cultural life,traditional drama and folk beliefs.

关 键 词：福建 族规 戏曲 

分 类 号：J825[艺术—戏剧戏曲]