男扮女装的节日民俗解读  

An Interpretation on the Festival Folk of Man in Drag

作　　者：陈建华[1] 

机构地区：[1]湖北经济学院语言与文化传播研究所,湖北武汉430205

出　　处：《内蒙古大学艺术学院学报》2014年第2期32-40,共9页Journal of Art College of Inner Mongolia University

基　　金：教育部人文社科基金"节日视阈下的戏曲演艺研究"(项目编号12YJC760006)阶段性成果;香港城市大学"二十世纪昆曲传习与中国文化传承"(GRF Project no.9041450(City U Ref.104509)研究项目阶段性成果

摘　　要：本文主要讨论节日社火与南宋宫廷杂剧、早期民间南戏中的男扮女装现象。南宋宫廷杂剧、早期民间南戏与节庆环境密切相关,它们采用男扮女装的扮演形式在功能上与节日社火是一致的,都与阳气驱邪的观念相关。但是随着戏曲之中娱乐要素的增加,以及文人介入的程度加深,逐渐背离了最初的宗教仪式,女性演员的本色表演得以确立,也迎合了欣赏者的审美习惯。而元宵社火主要作为一种民俗形态,更稳定地传承了童阳驱傩的原始观念。This paper discusses the traditional festivities in festival, the Southern Song court drama, and man in drag in the early southern folk opera phenomena, The Southern Song court drama and the early southern folk opera are closely related to the festival environment. The functions of the drag form are consistent with the traditional festivities and are associated with con cept of yangqi exorcising evil spirits. But with the increase of the entertainment elements in opera and the deep extent of civilian involvement, they gradually deviated from the initial rites to establish performance of the female actors, but also caters to those appreciators＇ aesthetic habits. Primarily as a folk form, the Lantern traditional festivities more stably inherited original concepts of Tong Yang Nuo.

关 键 词：节日 反性别 驱傩 

分 类 号：K892.1[历史地理—民俗学]