潮剧《陈三五娘》传播影响研究  

On the Propagation and Influence of the Teochew Opera The Mirror and the Lichee

作　　者：徐燕琳[1,2] 

机构地区：[1]华南农业大学人文学院 [2]华南师范大学岭南文化研究中心,广东广州510642

出　　处：《汕头大学学报（人文社会科学版）》2016年第1期26-32,94,共7页Journal of Shantou University(Humanities and Social Sciences Edition)

基　　金：教育部人文社科研究规划项目"岭南戏曲与岭南文化生态研究"(12YJA760077);广东高校创新强校工程特色创新项目"艺术中国的家土构建:岭南戏剧生成发展研究"(2014WTSCX015);广州市哲学社科十二五规划项目"岭南戏曲海内外传播影响及发展研究"(15Y22)

摘　　要：潮剧《陈三五娘》于明代中叶基本定型,是南戏精神和本土情怀的反映。它在潮汕族群社会广泛传播,影响至深,亦被官府士绅视为"淫戏"而屡遭戏禁。20世纪50年代初的戏曲改革和抢救潮剧传统遗产运动促进了潮剧《陈三五娘》、《续荔镜记》的整理,成为传统剧目传承、创新和发展的典范,舞台演出繁盛。经历"文革"后重生的《陈三五娘》走出国门,以新的面貌投入潮剧创新和发展,产生了《益春》等获奖佳作,广受群众欢迎。20世纪90年代后,潮剧《陈三五娘》的文献、理论和实践研究不断深入发展,明确了它在潮剧发展中的里程碑意义,进一步推进了它的传播和影响。As the embodiment of the spirit of the opera of South China and native sensibilities, the Teochew Opera The Mirror and the Lichee fell into pattern in the mid-Ming Dynasty. It was widespread and influential in Chaoshan district and was banned by government as an obscene story. In the 1950 s, the opera reform and the Teochew Opera rescue movement revised The Mirror and the Lichee and its sequel which became the models of inheritance, innovation and development of traditional theatrical pieces, and stage performances flourished. After the Cultural Revolution the Teochew Opera underwent further innovation and development and some award-winning pieces like Yi Chun was immensely popular. After the1990, research on the literature, theories and practice of The Mirror and the Lichee defines the milestone significance of the play and further promotes its propagation and influence.

关 键 词：潮剧 《陈三五娘》 荔镜记 戏曲文献 戏曲史论 

分 类 号：G127[文化科学]