辰河高腔《目连戏》的演出内容与形态  

The Performance Content and Form of River Chen High Tune "Mu Lian Play"

作　　者：熊晓辉[1] 

机构地区：[1]湖南科技大学,湖南湘潭411201

出　　处：《吉林艺术学院学报》2011年第6期47-52,共6页Journal of Jilin University of Arts

基　　金：国家社科基金艺术科学项目<湘鄂渝黔边区少数民族艺术研究>(05BA009)阶段性成果;2011年湖南省民族学优势特色重点学科项目<西南少数民族原生型民间音乐舞蹈研究>(HNYTZ014)阶段性成果

摘　　要：辰河高腔《目连戏》起源于500多年前,它是经过同本地语言、宗教、歌舞、民间小调、戏曲等融合发展而成的一大地方戏。辰河高腔《目连戏》是以目连救母故事为题材的剧目总称,故事来源于印度佛经《盂兰盆经》,经文也是讲述目连向佛祖讨教解救母亲的办法,然后以众人的法力解救母亲的故事。研究辰河高腔《目连戏》对于我们研究中国戏曲的形成有着重要的参考价值,同时也是考察、研究明清时期沅水流域人们思想文化、伦理道德、社会状况、风俗习惯、宗教信仰、民间艺术的重要依据。River Chen High Tune 'Mu Lian Play',which originated more than 500 years ago,is a big local play after the fusion and development of local language,religion,song and dance,folk tunes,and traditional Chinese opera.' Mu Lian Play' takes Mu Lian saving his mother as the theme of the story coming from Indian Buddhist 'Ulambana Sutra' which tells that Mu Lian resorted to Buddha for the ways to save his mother and he managed to save her through the supernatural power of the Buddhism.The research of this play has important reference value and the important proof to investigate and study the people's thinking,culture,ethics,social status,customs,and religious beliefs of Yuanshui river basin in Ming and Qing Dynasties.

关 键 词：辰河高腔《目连戏》 内容 人物 角色 形态 

分 类 号：J82[艺术—戏剧戏曲]