叙事功能与生命秩序:目连赛戏的展演形态解构  

Narrative Function and the Order of Life:Analyzing the Performative Mode of Moggallāna Folk-Opera

作　　者：张志全[1] Zhang Zhiquan(School of Literature and Journalism,Chongqing Technology and Business University,Chongqing 400067,China)

机构地区：[1]重庆工商大学文学与新闻学院,重庆市400067

出　　处：《文艺理论研究》2019年第6期23-32,共10页Theoretical Studies in Literature and Art

摘　　要：目连赛戏在明清以来成为酬神赛会的主要展演形态。就叙事功能而言,目连赛戏的仪式可分为导入(出)性仪式、情节性仪式、干预性仪式三类。仪式的渗透,为目连赛会建构了独特的仪式空间:祭祀圈与仪式展演场形塑的地理空间、人生礼仪与节序礼仪形成的生命空间、人神交互的宇宙空间,从而将仪式整体从阶段性过渡升华为生命历程的涅槃,这是目连赛戏带给庶民社会的深层次内涵。"扮下台"是目连赛戏中的创造性展演,借助西方现代戏剧理论的"他者"视野,可以发现目连戏的"扮下台"展演不仅仅是迎合观众的闹热性呈现,更是一种配合人神交互的展演仪式,是基于宗教迷狂的生命意义表征。Since the Ming and Qing dynasties,Mulian(Moggallāna)folk-opera about how Moggallāna saves his mother from Avici Hell had become the main performative mode of Buddhist deity-worshipping contest.On the level of narrative function,the performance has three types of ritual:those of leading-in and leading-out ritual,dramaturgic ritual and intervention ritual..The introduction of ritualistic elements into the contest creates a unique space for Mulian Opera in the forms of the geographical space constructed by sacrificial circles and ritual venues,the life space enacted by the rites of life and rites of custom,and the cosmic space of human-deity interaction.The three types of space enables the transcendence from phases of the ritual to the eternity of nirvana in life experience,and this may the ritual to from the transient to the eternal,constitute the deep-rooted significance to the human society.In the deity-worshipping contest,"off-stage performance"is an important component with unique creativity.Put into the horizon of modern Western theatre theory,off-stage performance not only caters to the audience’s revelry but also serves as a performative ritual based on the representation of religious ecstasy.

关 键 词：目连赛戏 仪式类型 叙事功能 生命秩序 展演形态 

分 类 号：J825[艺术—戏剧戏曲]