汉魏六朝时期“都卢寻橦”“橦末伎”及其表演机制  

“Dulu Xunchuang” and “Chuang Mo Ji” and Their Performance Mechanism during the Han, Wei and Six Dynasties

作　　者：岳洋峰 YUE Yang-feng(College of Liberal Arts,Hebei Normal University,Shijiazhuang 050024,China)

机构地区：[1]河北师范大学文学院,石家庄050024

出　　处：《北京舞蹈学院学报》2021年第6期38-44,共7页Journal of Beijing Dance Academy

基　　金：河北省高等学校人文社会科学研究青年拔尖人才项目“北齐礼乐文化与乐府诗研究”(项目编号BJ2021089)成果。

摘　　要："都卢"起于国名,后逐渐成为"都卢寻橦"的省称。"都卢寻橦"与"橦末伎"是辩证统一的关系,两者均具有宫廷"秘戏"的性质,并以伎人于橦末"演作诸势"而出彩。因其称名的不同,需要结合具体的史料记载进行辨析。汉魏六朝时期,"都卢寻橦"与"橦末伎"用于大飨之礼,并于皇家宫观平乐观中进行演出,其目的为娱乐四夷之宾。对"都卢寻橦"与"橦末伎"表演机制的研究,为我们认识汉魏六朝时期"橦末"文化提供了重要参考。“Dulu” originated from the country name and then gradually became the abbriviation of “Dulu Xunchuang”. “Dulu Xunchuang” and “Chuang Mo Ji” were dialectically united, both of which had the nature of royal court’s “secret drama”, and were distinguished by their “acting of various forces” at the end of pole by performers. Because of their different names, they need to be differentiated and analyzed based on specific historical records. During the Han, Wei, and Six Dynasties, “Dulu Xunchuang” and “Chuang Mo Ji” were often performed in the rituals of grand feasts and in the royal palaces with the purpose of entertaining guests. By studying the performance mechanism of “Dulu Xunchuang” and “Chuang Mo Ji”, this paper provides an important reference for us to understand the “Chuang Mo” culture during the Han, Wei and Six Dynasties.

关 键 词：汉魏六朝 “都卢寻橦” “橦末伎” 表演机制 

分 类 号：J709[艺术—舞蹈]