温州乱弹“八仙戏”曲体探析——当代民间传统戏曲传承流变的个案研究  

Study on the Eight Immortals Opera' Musical Form of Luantan-Opera in Wenzhou——The Case Study of the Development and Changes of Traditional Folk Opera in the Contemporary Period

作　　者：章启明[1] 李昌集[1] 

机构地区：[1]江苏师范大学文学院,江苏徐州221116

出　　处：《江苏师范大学学报（哲学社会科学版）》2013年第3期27-33,共7页Journal of Jiangsu Normal University：Philosophy and Social Sciences Edition

基　　金：江苏省普通高校研究生科研创新计划项目"温州乱弹调查与研究"(CXZZ12_0972)阶段性成果

摘　　要：温州乱弹"八仙戏"保留的34个曲牌是研究曲体演变的重要"活态"资料。温州乱弹八仙戏曲牌,文体形式上"辞无定体",音乐传承上则"有腔可寻",说明民间传统戏曲传承"重曲轻文",以音乐为本位,与文人戏曲首重文学大相径庭。传统戏曲在雅、俗两个文化空间中传承流变的模式和机制是不同的。The thirty-four names of the tunes in “Eight Immortals play” of Luantan-Opera in Wenzhou are “living state” materi- al, which are important to the research on the evolution of musical form. The names of the tunes in “Eight Immortals play” of Lu- antan-Opera in Wenzhou are flexible in stylistic characteristics as well as stationary in music style. So that the traditional opera in folk is people oriented, which is different form literati＇opera. It’s a marked difference between elegant euhure and popular culture in the rheological model and mechanism of traditional opera.

关 键 词：温州乱弹 八仙戏 曲体 重曲轻文 

分 类 号：I207.37[文学—中国文学]