南岳神戏的历史渊源与发展变化  

On Historical Origin and Development of Nanyue Divine Drama

作　　者：田彦 李刚 Tian Yan;Li Gang(Nanyue Institute of Buddhist Culture,Nanyue Hunan 421900,China;Faculty of Music,Hengyang Normal University,Hengyang Hunan 421002,China)

机构地区：[1]南岳佛教文化研究院,湖南南岳421900 [2]衡阳师范学院音乐学院,湖南衡阳421002

出　　处：《衡阳师范学院学报》2022年第1期116-121,共6页Journal of Hengyang Normal University

基　　金：湖南省教育厅优秀青年项目“南岳正一道教神戏音乐与文化研究”(19B087)。

摘　　要：南岳神戏是一种仪式性戏剧,它是中国古代巫傩文化的遗存。南岳神戏的仪式表演是由南岳民间的师公主持完成的,表演内容主要包括祭祷、戏剧、说唱、舞蹈等,目的是酬神还愿、祈福驱邪。南岳神戏的传承历史,现在能够确切追溯到的时间是明代。在后来的发展过程中,南岳神戏逐渐出现了两种新的变化:一是师公的仪式表演融合了道教的元素,甚至产生了师公兼学道士的现象;二是师公的戏剧表演出现了与花鼓戏艺人合作的现象,并由此推动了舞台剧《大盘洞》的形成。Nanyue Divine Drama is a ritual drama, which is the remains of ancient exorcising and sorcery culture in China. The ritual performance of Nanyue Divine Drama is presided over by folk Shigong in Nanyue. The content of the ritual performance mainly includes sacrifice and prayer, drama, singing, dance, etc. Its purpose is to repay God’s wishes, pray for blessings and exorcise evil spirits. The inheritance history of Nanyue Divine Drama can be traced back to the Ming Dynasty. In the later process of development, two new changes gradually appeared in Nanyue Divine Drama. One is the ritual performance of the Shigong blended the elements of Taoism, and even produced the phenomenon that the Shigong was also a Taoist and the other is Shigong’s performance appeared in the form of cooperation with Huagu Drama artists, which also promoted the formation of the stage drama Dapandong.

关 键 词：南岳神戏 巫傩文化 仪式戏剧 师公 《大盘洞》 

分 类 号：I236.64[文学—中国文学]