民国以来赣南客家采茶戏的转型研究  

Research on the Transformation of Gannan Hakka Caicha Drama(采茶戏) since the Republic of China

作　　者：黄玉英[1] 龚文瑞[2] 

机构地区：[1]江西科技师范大学音乐学院,江西南昌330038 [2]广东河源职业技术学院客家文化学院,广东河源517000

出　　处：《地方文化研究》2014年第6期47-58,共12页Local Culture Research

基　　金：国家社科规划一般项目"赣南客家(采茶戏研究)"(项目编号:13BB023)阶段性研究成果

摘　　要：戏曲界有一种观点认为,具有传承价值的戏曲应该是原生态、次生态与新生态三种状态并存。戏曲从乡村出发,终将回归乡村,城市只是戏曲的过渡点。赣南客家采茶戏这三种生存状态非常典型:新生态产品如《山歌情》《快乐标兵》、《八子参军》屡屡获奖,成果显赫。本文力图回答以下几个方面的问题:源出于乡村的采茶三角班是如何从原生态向次生态过渡的?赣南客家采茶戏在民国至建国后经历了怎样的改造与发展过程?There is a view in Opera world that the drama which ha s heritage value should coexist the original ecology, the times ecology and the new eco-times statuses. Opera starts from the village, will return rural eventually, and the urban is just a transitional point to drama. These three statuses are very typically survived in Gannan Hakka Caicha Drama. The new eco-products, such as ＂folk love＂ ＂Happy pacesetter＂ ＂Eight children join the army,＂ get awards and prominent achievements, this article will not repeat（the detail later is in the national project ＂Study of Gannan Hakka Picking Tea Leaf drama＂）. How did the village picking tea leaf triangle team transform from the original ecology to the times ecology？ how about the past lives and yesterday of the Gannan Hakka Caicha Drama, and what kind of reconstruction and development has it experienced？

关 键 词：赣南客家采茶戏 民国时期原生态 建国以后次生态 改造与发展 

分 类 号：J825[艺术—戏剧戏曲]