明代南戏祭祀演剧考论  

A Study on the Sacrificial Performance of Nan Xi( 南戏) in the Ming Dynasty

作　　者：欧阳江琳[1] 

机构地区：[1]江西师范大学

出　　处：《文化遗产》2014年第2期45-53,157,共9页Cultural Heritage

基　　金：2009年国家社科基金青年项目"南戏演剧形态研究"(项目编号09czw036)的阶段性成果

摘　　要：由于受到国家祭祀政策的影响,明代民间祭祀活动大体呈现为从明初沉寂到中叶渐盛的发展态势。本文结合南戏剧本文献、戏台文物以及现存地方南戏遗存之状况,推论出:明代前中期,南戏祭祀演剧较为活跃,在民间祭祀活动中占有重要地位。随着里社祭祀向宗族祭祀的演进,南戏祭祀演剧呈现出娱乐化、世俗化的发展趋势,既有专门的仪式剧,也有融仪入戏的娱乐剧,两者交相影响,共存兼融。而明代南戏道德伦理剧的兴盛,也与祭祀组织的管理思想和方式有密切关系。Due to the influence of national policy on offering sacrifices during the Ming Dynasty,the development of folk sacrificial activities generally went through from dreariness in the early Ming Dynasty to prosperity in the middle. Based on examining scripts and literatures of Nanxi,the stage and other cultural relics,as well as the condition of remained local Nanxi,this paper conclude that Nanxi sacrificial drama was active on stage and also played an important role in folk sacrificial activities in the early and middle period of Ming Dynasty. With the progression of offering sacrifices from community to clansman,Nanxi sacrificial drama developed with the tendency towards entertainment and secularization. It contained both specialized ceremony drama and entertainment drama which integrated rituals. The two dramas affected each other and coexisted harmoniously. Besides,the thriving of Nanxi moral and ethical drama during the Ming Dynasty was closely related to the managerial ideas and modes of sacrificial organizations.

关 键 词：南戏 祭祀演剧 戏台建制 表演形态 道德伦理剧 

分 类 号：I207.3[文学—中国文学]