环县地处我国北方农牧交错带，陇右之地东端，这里风高土燥，秋早春迟，千百年来灾异频繁、民习艰苦。然而，至今天为止，全县34万人口仍有50个戏班、300多名艺人常年演唱道情皮影戏。在如此落后的西北一隅之地，何以能保存如此完整甚至相比其他地区还显兴盛的皮影戏艺术？当地百姓为何选择了这样一种艺术形式？环县道情皮影何以承载、如何承载当地民众的生存历史、生活习俗、民众信仰并集中体现他们的价值观念？藉此，本书以上述问题为纲，以环县地理文化背景与戏班历史、运作、传承、表演为目，选择百年间艺脉未断的敬家班为主要考察对象，通过近半年的“住居式”考察，深度访谈艺人、观众、村民、艺人亲属及政府相关人员等不同人群，搜集表演、口述史、实物、图片、政府文件等资料，以民族志方法书写环县道情皮影历史、运作与传承的地方文化知识，以音乐学的方法层层剖析环县道情皮影戏表演的形态特征并以解释学的方法揭示其表演与历史、运作、传承的内在关联。除绪论与结论之外，全书共分五章。第一章介绍当地历史文化与地理环境，寻找环县道情皮影生存的时空、文史背景，同时也交代笔者的书写立场；第二章从敬家班传承谱系、戏箱演化与表演变迁三个方面，回溯敬家班百家历史，管窥环县道情皮影发展脉络；第三章从社会学的角度出发，剖析戏班的静态内部结构与动态运作规律，以考察戏班表演与社会风俗的互动关系；第四章从敬家班各位艺人的习艺史中，全面展示环县道情皮影戏自我繁殖的过程、方法与特征；第五章通过庙会中不同类型剧目的实录与分析，剖析其音乐、戏曲形态特征，阐释文化内涵与音乐形态的融合关系。关键词环县道情皮影 戏班 运作 传承 表演

Huan County，located in farming-pastoral zone of Loess Plateau in the hinterland of China，has suffered from disasters for a long time.Instead of becoming fishermen and woodmen，people there take lagged farming as their main mode of production.Surprisingly，with a population of 340000，this county up till now still has 50 theatrical troupes playing Huan County Daoqing（to peddle the religious morality and express the true love in the world）Shadow Play which is performed by more than 300 artists on temple fair，at private property and in the County all year around.How can shadow play be well-preserved and even be flourishing in such a tiny backward area in Northwest China? Why are local people in favour of such a form of art? How does the Huan County Daoqing Shadow Play embody local people’s history，custom and belief，and represent their values?Based on these questions，this paper unfolds the study from perspectives of Huan County’s cultural and geographical backgrounds and the theatrical troupe’s history，operation mechanism，inheritance and performance.Taking the Jing’s family troupe whose unique art has been passed on for five generations during one hundred years as the main subject of our academic investigation，we carried out indepth interviews of different crowd，such as artists and their relatives，audience，villagers and related government officials during our nearly half a year’s field work to Huan County and collected related data，such as live performance，oral history，material objects，photos and government documents，etc.Then，we wrote step by step the history and operation of Huan County Daoqing Shadow Play and local culture that it has inherited，analyzed the characteristic of its morphological features of performance，and revealed the inner connection between its performance and history，operation，and inheritance，adopting ethnographic，ethnomusicological and hermeneutic method respectively.As for its structure，this dissertation，apart from the introduction part and the conclusion parts，is composed of five chapters.Chapter I introduces the local history，culture and geographic features of Huan County，with a view to figure out the background on which Shadow Play depends for existence; besides，the writing background of this paper is also included.Then，chapter II，taking Jing’s theatrical troupe for example to look back upon the history of the theatrical troupe，glimpses Daoqing Shadow Play’s developmental process and historical prescription from three perspectives，namely inheritance genealogy，evolution of opera box and development of performance.Later，chapter III resolves the static internal structure and dynamic operation law of the troupe from a sociological point of view，so as to detect the interactive relationship between the performances of the troupe and social customs.Then，through examining the growth histories of the artists of the Jing’s theatrical troupe，chapter IV gives a comprehensive display of the inheritance process，methods and characteristics of Daoqing Shadow Play’s self-reproduction.Lastly，in chapter V，the author explains the integrative relationship between the connotative meaning of cultural and forms of music through the analysis of temple record of different types of plays and the examination of its music and morphological features.Keywords：Huan County Daoqing Shadow Play; Theatrical Troupe; Operation Mechanism; Inheritance; Performance