戏曲与傩仪:闽台“大神尪”傩舞的形态特征与戏曲化趋势  

Traditional Chinese Opera and Nuo Ritual: Morphological Characteristics and Chinese Opera Trend of “Holy Generals” of Nuo Dance in Fujian and Taiwan

作　　者：郑玉玲 林枫 ZHENG Yu-ling;LIN Feng(Minnan Culture Research Institute,Minnan Normal University,Zhangzhou 363000,China)

机构地区：[1]闽南师范大学闽南文化研究院,漳州363000

出　　处：《北京舞蹈学院学报》2022年第6期54-63,共10页Journal of Beijing Dance Academy

基　　金：国家社科基金冷门“绝学”和国别史研究专项“闽台‘大神尪’傩舞艺术的抢救、挖掘与传承研究”(项目编号19VJX151)阶段性成果。

摘　　要：“大神尪”傩舞是我国傩文化在闽台遗存的一种独特祭祀仪礼。本文立足田野调研,借鉴舞蹈形态学、戏曲民俗学等研究方法,以戏曲与傩仪为主线,剖析闽台“大神尪”傩像的戏曲化造像特点、身段步态特征,窥见其傩舞形态的审美意涵;通过分析神尪傩舞形态与闽台戏曲在角色形塑、身段步法、阵法构图的相似性,阐析“仪中有戏、戏中有仪”的互为借鉴关系,揭示神尪傩舞与地方戏曲相互借鉴交融的文化现象,进而从傩与戏的双向互动阐释大神尪傩舞的戏曲化趋势。The “Holy Generals” of Nuo dance is a unique sacrificial ritual that remains in Fujian and Taiwan. This paper refers to the dance morphology and folk studies of Chinese opera as research methods, and takes Chinese opera and Nuo ritual as the main line to explore the characteristics of operatic statues and body movements of “Holy Generals”, and analyze the aesthetic connotation of Nuo dance forms. By examining the similarity of characterization, body movement, and formation pattern between “Holy Generals” and Chinese opera in Fujian and Taiwan, it explains their mutually referring relation, and reveals the cultural phenomenon of the mutually referring and integrating between Nuo dance and local operas, and further expounds the Chinese opera trend of “Holy Generals” from the interaction between Nuo dance and Chinese opera.

关 键 词：戏曲与傩仪 闽台“大神尪”傩舞 形态特征与意涵 戏曲化趋势 

分 类 号：J722[艺术—舞蹈]