从《目连救母》看仪式戏剧的衍生与发展——以闽南打城戏为中心  

The Interpretation of Ritual Drama's Birth and Development from The Play of Mulian's Salvation for His Mother:Taking Dacheng Opera as a Case

作　　者：骆婧[1] 

机构地区：[1]华侨大学文学院,福建泉州362021

出　　处：《福建师范大学学报（哲学社会科学版）》2013年第3期114-123,135,共11页Journal of Fujian Normal University:Philosophy and Social Sciences Edition

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>阶段性成果(项目编号:12YJC760059);中央高校基本科研业务费资助项目华侨大学哲学社会科学青年学者成长工程团队项目<闽南文学的传承与流播--以文化生态为视角>(12SKG-QT07)研究成果;福建省人文社会科学研究2011年度规划项目(青年博士扶持项目)<闽南打城戏文化生态研究>阶段性成果(项目编号:2011C030)

摘　　要：仪式剧种的诞生,最能诠释宗教与艺术之关系。源自佛教教义的目连救母杂剧,不仅衍生出全国各地的目连戏,更曾直接推动了仪式剧种的产生与发展。以闽南打城戏为例,《目连救母》不仅推动了超度仪式向戏曲形态的转化,更促成了打城戏在声腔音乐、剧目系统、表演艺术上的定型。从宗教仪式到戏曲艺术,《目连救母》成为一座不可或缺的桥梁。The birth of ritual drama can be an interpretion of the relationship between religion and art. The play about Mulian＇s salvation for his mother which came from Buddhism story not only created a play , also promoted the birth of ritual drama. Taking Dacheng Opera as an example, this story made it easier for funeral rites to change into drama, as well as establishing the foudation of opera such as music, list of plays and performance rules.

关 键 词：目连救母 佛教 仪式剧种 打城戏 

分 类 号：J825[艺术—戏剧戏曲]