浅论闽南“佛戏”  

Notes on "Buddhist Theatre" in Southern Fujian

作　　者：骆婧[1] 

机构地区：[1]华侨大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2013年第1期53-67,共15页Drama:The Journal of the Central Academy of Drama

基　　金：2012年度教育部人文社会科学研究青年基金项目"闽台仪式戏剧研究"(项目编号:12YJC760059)阶段性成果;福建省社会科学规划2011年度青年项目"闽南打城戏文化生态研究"(2011C030)阶段性研究成果

摘　　要：中国宗教对戏曲的影响不仅体现在整体艺术特征上,更体现在戏曲剧种的孕育上。从唐代"佛戏"的萌芽,到宋元民间艺术的冲击,再到明清时期的滥觞,"佛戏"的普遍存在与曲折的发展历程,揭示了由宗教向艺术过渡的过程。以闽南打城戏为例,通过对其前身——"打地狱城"的追溯可发现,迟至清代后期,"佛戏"已具备了鲜明的戏剧性和审美价值,并在特定的条件下有可能转化为戏曲剧种。The impact of religion on traditional opera in China lies not only in the artistic attributes, but the development of types of traditional opera as well. From the budding period of ＂Buddhist drama＂ in the Tang Dynasty, to the impact of folk art in the Song Dynasty, further to the overly flourishing art forms in Ming and Qing Dynasties, the prevalence and development of ＂Buddhist drama＂ has revealed its process of transition from religion to art. For an instance, Da Cheng Show in Southern Fujian, as traced back to its predecessor---＂ Da Diyu Cheng ＂, demonstrates that ＂ Buddhist drama＂ in the Qing Dynasty at the latest has possessed explicit histrionic properties and aesthetic value, and under certain circumstances ＂Buddhist drama＂ is likely to transform into different types of traditional opera.

关 键 词：宗教演剧 佛戏 打城戏 

分 类 号：J805[艺术—戏剧戏曲]