陇南白马藏族傩舞戏表演内容论——白马藏族文学整理与研究之四  

On Performance Content Theory of Longnan White Horse Tibetan Nuo Dance Play——White Horse Tibetan Literature Sorting and Research(the Fourth)

作　　者：蒲向明[1] 

机构地区：[1]陇南师范高等专科学校,甘肃成县742500

出　　处：《吉林艺术学院学报》2012年第6期12-17,共6页Journal of Jilin University of Arts

基　　金：国家社科基金项目"白马藏族文学的整理与研究"(11XZW023);教育部人文社会科学研究规划基金项目"陇南白马藏族美术文化的整理与研究"(09YJA760016);甘肃省高等学校研究生导师科研项目"陇南白马藏族民间文学整理和研究"(1128-01)的阶段性成果

摘　　要：陇南白马藏族傩舞戏表演内容宏富:池哥昼、麻昼表演形式古朴,源自久远,内容复杂,涵义深厚;秋昼、甘昼、嘛勾池、阿里该昼等,体现了陇南白马藏族傩舞戏从娱神到娱人文化的继承、变化和发展,处于中流;沿此而下,派生出的池母擀面、拐格达、杀野猪、秦州客等傩舞戏表演,内容各异,主要发挥着娱人、吉庆的作用。陇南白马藏族傩舞戏从源到流的发展演变,经过了一个层累、积淀的历史文化过程,形成一个流畅的地域性民族傩舞戏历史传承序列,其深广内容无不揭示着白马藏族生存史的种种隐秘,文化和文学价值颇具学术意义。Longnan White Horse Tibetan Nuo dance play contents are very rich: Chige Day,Mazhou performance forms are primitive,long,complicated,deep.Qiu Day,Gan Day,Ma Gou Chi,Ahli,etc,all embody the human cultural inheritance,change and development from Entertainment God to Entertainment People,which occupies in the middle position.Through this,the derived mother moulding,Guaigeda,wild boar killing,Qinzhou Guest and other performance,which perform differently and play the role of entertainment and happiness.Longnan White Horse Nuo Dance has undergone the development evolution from the source to the flow,gone through the historical and cultural process with accumulation and deposit,formed a smooth regional national hero Nuo Dance historical inheritance sequence,and its deep and wide content all revelas all kinds of secrets with the academic significance of culture and literature.

关 键 词：陇南白马藏族 傩舞戏 表演内容 池哥昼 麻昼 

分 类 号：J722.22[艺术—舞蹈]