传统藏戏的佛教观念与悲剧意识  

The Buddhist Concepts in and Tragic Consciousness of Traditional Tibetan Opera

作　　者：张雪[1] Zhang Xue(School of Art,Southwest Minzu University,Chengdu,610041,Sichuan,China)

机构地区：[1]西南民族大学艺术学院,四川成都610041

出　　处：《民族学刊》2021年第9期101-105,125,共6页Journal of Ethnology

摘　　要：传统藏戏通过悲剧性情境、悲剧意味浓烈的情节,甚至不乏通过制造矛盾冲突与推动剧情发展的各种斗争手段,营造藏戏的悲剧情境。然而由于宗教观念的影响以及独特的创作方式,传统藏戏的悲剧性却遭到不同程度的消解。传统藏戏的故事编织方式、人物佛性化的性格特征、戏剧结局方式、因过于强调故事性而忽略了场面描写和细节描写,这些都对悲剧性情境有所消解。不同于西方戏剧中严格意义上的悲剧,传统藏戏是一种具有东方佛教底蕴的超越性悲剧。佛教开阔的生命观念及克己修忍等伦理规范,使藏戏人物以一种超脱的心境面对一切苦难和悲剧性困境。如果说西方式悲剧的抗争精神强调的是人与人、人与命运之间的抗争是建立在基督教文化语境中,那么传统藏戏则突出的是人与苦难本身的精神上抗争的藏传佛教底蕴。人物直面无尽苦难和悲剧性困境的抗争精神,使传统藏戏形成为一种独具佛教特色的超越性悲剧,同样能唤起观众强烈的情感共鸣。When traditional Tibetan opera artistically expresses the survival predicament of the Tibetan people,it presents a variety of tragic survival dilemmas for use by the characters in the drama,including natural and social survival challenges.The set or staging of social survival dilemmas is an integral component of traditional Tibetan opera.In addition,to show the cruel nature of the conflict and struggle in the secular world,many traditional Tibetan operas also include various conspiracies and tricks.Traditional Tibetan opera creates a kind of tragic atmosphere through plots heavily laden with hardship,intending to create plots full of conflicts and all sorts of development.However,due to the influence of religious concepts and its unique way of creation,the tragic nature of traditional Tibetan opera has been driven away in varying degrees.Tibetan Buddhism believes that everyone has a Buddha-nature and everyone can become a Buddha.Only when people are exposed to extreme tragedies can they completely release the true human nature hidden in daily life.The experience of dire suffering is a spiritual practice process for Tibetan opera characters,and greatly deepens people s feelings about life.A large number of tragic scenarios are set up in traditional Tibetan opera,which aims to make the dramatic characters struggle with the suffering itself.They face various difficulties many times,which inspire the characters to confront the seemingly endless suffering in many ways.And this is obviously different from the sheer opposition to suffering as seen in Western drama.Although there is a large number of sorrowful events and tragic content in traditional Tibetan operas-and rich Western dramatic elements can be found in these tragic contexts-they did not develop in the direction of Western drama-This results in the dissolution of their tragic feature in many ways.The characters in Tibetan opera can transcend tragic dilemmas and suffering,so these very unhappy settings are unlikely to lead to an attitude of rejection and depre

关 键 词：传统藏戏 超越性悲剧 佛教观念 悲剧意识 

分 类 号：J021[艺术—艺术理论]