赣南客家采茶戏明清时期历史研究  

A Research on Gannan Hakka Tea-picking Opera during the Ming and Qing Period

作　　者：黄玉英[1] 龚文瑞[2] 

机构地区：[1]江西科技师范学院音乐学院,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》2015年第3期81-88,49,共9页Local Culture Research

基　　金：国家社科规划基金艺术学一般项目"赣南客家采茶戏研究"(项目编号:13BB023)阶段性研究成果

摘　　要：中国是一个以儒术为主的文化之邦,尊儒术的结果势必排斥赣南客家采茶戏这类源出于民间、流传于乡里、取悦于贫民的戏曲。赣南客家采茶戏缺乏宗教渊源,也没有宫廷元素,故而自诞生之日起便一直受到各个朝代各级官府,甚至是以儒学为重的宗族的抵制,被视为不入流。可以说,客家采茶戏形成于主流与体制的非议中,成长于乡村狭小的空间里,采茶艺人的生存状态也自然艰辛异常。历经四百多年风雨侵凌,原生态赣南客家采茶戏表现出异乎寻常的顽强生命力,终于破土而出,赢得生长的自由空间。China is a Confucianism dominated state, as a result, it is bound to reject those operas form folk, popular in the village, and to please the poor such as Gannan Hakka tea-picking opera. Gannan Hakka tea-picking opera has neither religious origin, nor palace elements, and therefore from the birth date, it has been subject and considered mediocre by official levels of various dynasties, even the clan based on Confucianism. It can be said, Hakka tea-picking opera form in criticism of mainstream institution, grew up in rural space, and the living condition of tea-picking artists is naturally abnormal hard. After four hundred years of wind and rain humiliation, the original ecological Gannan Hakka tea-picking opera exhibit unusually tenacious vitality, and finally won the free grow space.

关 键 词：赣南客家采茶戏 明清时期 形成与发展 

分 类 号：J825[艺术—戏剧戏曲]