庙堂仪礼与巫觋表演--《诗经》《九歌》中的戏曲因素和戏曲品性  

Royal Etiquette and Witchcraft Performances——Factors and Attributes of Opera in The Book of Songs and Nine Songs

作　　者：陈友峰[1] 

机构地区：[1]中国戏曲学院戏曲研究所,北京100073

出　　处：《文化艺术研究》2016年第3期90-106,共17页Studies in Culture and Art

基　　金：北京市社会科学基金资助项目“近代戏曲美学思想的形成与演变研究”(项目编号:14WYB038)的阶段性成果

摘　　要：《诗经》中的"桑间濮上之歌"走进朝堂并与"朝廷之音"相结合,为王宫廷堂上的"雅乐"补充了质野鲜活的血液,尤其一些"对话"形式的歌谣,具有初始形态的戏曲品性,为综合性表演艺术的出现创造了条件;《楚辞》的某些篇章同样拥有鲜明的戏曲因子,《九歌》歌舞并重,结构完整,情节曲折离奇,且多是装扮表演,不论整体结构,抑或祭祀过程中的场上演出,均体现出鲜明的戏曲品性。尤其是华美的唱词(或曰"歌词")、意向明确的装扮表演、描绘细腻的心理活动、刻画丰满的人物形象以及笼罩全场的诗意性和浓郁的抒情性,体现出戏曲艺术初始形态的鲜明特性。When 'The airs near the river Pu,at the mulberry forest'( which implies obscene and decadent airs) in The Book of Songs walked into the royal court and combined with the 'sound of the court',they supplemented the court music with wild and fresh blood. Some ballads in the form of'dialogue'had a primitive attribute of opera,and therefore created conditions for the appearance of comprehensive performing arts. Similarly,certain writings in The Songs of Chu possessed distinctfactors of opera,such as Nine Songs. It laid equal stress on singing and dancing with a complete structure and quirky plot,which was often performed in costumes. Both its massive structure and stage performances in the process of sacrifice gave expression to a bright character of opera. Particularly,those colorful libretto( or so called lyrics),dressed-up performances with specific intentions,exquisite descriptions of mental activities,well-rounded portrayal of characters,poetic quality that enveloped the whole audience,and full-bodied lyricism all embodied distinctive features of opera art in its initial form.

关 键 词：《诗经》 《楚辞》 装扮表演 戏曲艺术 

分 类 号：J8[艺术—戏剧戏曲]