论《踏谣娘》的巫傩文化基因  

The Cultural Gene of Witchcraft in Ta Yao Niang

作　　者：陈继华[1] 

机构地区：[1]安庆师范学院黄梅剧艺术学院,安徽安庆246000

出　　处：《廊坊师范学院学报（社会科学版）》2014年第2期66-69,共4页Journal of Langfang Normal University(Social Sciences Edition)

基　　金：国家哲学社会科学基金项目"山西祭祀戏剧形态研究"(13CZW057)的阶段性成果

摘　　要：巫术宗教仪式是中国戏剧形成的重要源头之一,特别是颇具戏剧表演因素的傩祭,对戏曲的形成和发展影响深远。与后世戏剧相比,唐代歌舞戏更多地保留了戏剧生成的原始巫傩文化元素,其代表剧目《踏谣娘》即可印证。不论是剧中男主人公苏中郎的姓氏、癖好(嗜酒)、相貌(丑陋),还是女主人公采用的"踏歌"这种艺术形式,都清晰地向我们展示出巫傩文化在唐代歌舞戏中的演进轨迹。Witchcraft ritual is one of the important sources of the formation of Chinese drama; especially the dramatic exorcise ritual that shed a profound impact on the formation and development of drama. Compared with the later drama, dance drama of the Tang Dy- nasty retained more cultural elements of the original exorcise, with Ta Yao Niang as the representative. Whether the surname, （alcoholic）hoby, （ugly） appearance of the hero Su Zhonglang, or the ballad style of the heroine, both have clearly demonstrated to us the evolution track of the exorcise culture in the Tang dance play.

关 键 词：《踏谣娘》 踏歌 巫傩 文化基因 

分 类 号：J82[艺术—戏剧戏曲]