何谓“端公戏”:称谓辩证与形态结构解析

发布时间：2018-12-21 09:25

【摘要】：学界对"端公戏"此一称谓的"误读"、"误用"可谓由来已久,其个中缘由,主要在于我们惯用戏剧而非仪式的概念来诠解端公戏。事实上,"端公戏"此一称谓本身应做两个层面的理解:一是祭祀仪式;一是戏剧形态,但究其根底,端公戏还是一种仪式存在。端公所谓演剧的部分其实是一种作为仪式的戏剧,它为端公"驱鬼敬神、禳灾祈福"的祭祀活动服务,是端公祭仪中不可分离的一部分。由"鬼神观念——巫术祭仪——个体祭祀效应"三者的双向互动所型塑的端公戏形态结构模式具有一定的普适性,特别是西南诸省纷繁复杂、不同称谓的诸多傩戏类型都与此形态结构具有同一性,因而均可纳入端公戏系统之中。
[Abstract]:"misreading" and "misusing" of the title "Duan Gong Drama" in academic circles have a long history. The main reason is that we use the concept of drama rather than ritual to interpret the concept of "Duanduangong Opera". In fact, the title of "Duan Gong Opera" should be understood from two aspects: one is the ritual of sacrifice, the other is the form of drama, but the root of it is the existence of a ritual. The part of Duan Gong's drama is actually a kind of drama as a ritual, which serves the sacrificial activities of "exorcising ghosts and worshipping gods and praying for blessings", and is an inseparable part of the ceremony of duangong's sacrifice. The form and structure model of Duan Gong Opera, shaped by the two-way interaction of "the concept of ghosts and gods, the instrument of sorcery sacrifice and the effect of individual sacrifice", has a certain universality, especially the complexity of the southwest provinces. Many types of Nuo opera with different appellations are identical with this form and structure, so they can be brought into the system of duangong opera.
【作者单位】：中山大学中文系;贵州民族大学西南傩文化研究院;
【基金】：教育部人文社会科学研究青年基金项目“贵州少数民族傩戏傩文化普查与流变研究”(项目批准号:13YJC751011) 贵州省教育厅高校人文社会科学研究青年项目“黔域傩戏流变与形态论”(项目编号:12QN020)阶段性成果
【分类号】：J809.2

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