论土家族哭嫁歌中的“孝女形象”——基于戏剧性理论视角  

On“the Image of Filial Daughter”in Kujia-ge(Wedding Lament)of Tujia Nationality in View of Dramatic Theory

作　　者：王传历[1] WANG Chuanli(College of Music,Fujian Normal University,Fuzhou,Fujian 350108,China)

机构地区：[1]福建师范大学音乐学院,福建福州350108

出　　处：《贵州大学学报（艺术版）》2023年第4期100-109,共10页Journal of Guizhou University Art Edition

基　　金：2021年度湖北省高校人文社科重点研究基地巴楚艺术发展研究中心开放基金项目“土家族音乐文化事象的‘反向’特质研究”(项目编号:2021KF07);2021年度湖北省教育厅科学技术研究项目“鄂西土家族民俗音乐的审美特征研究”(项目编号:B2021426)。

摘　　要：土家族哭嫁歌是一种真假哭兼具的民俗事象,其中的假哭让其在形式上具备了“以歌演故事”的戏剧雏形。基于戏剧性理论,土家人在婚礼这个特殊的情境中,首先通过摹仿真哭的动作来塑造孝女形象;接着再通过丑化婆家、拒绝出嫁和辱骂媒人手段营造戏剧性冲突来巩固孝女形象;然后再通过道德约束手段在新娘与族民之间形成一种稳定的观演关系来维护孝女形象;最后通过一系列规范流程使孝女演义活动程式化,形成长期固定的演出机制。由此揭示了哭嫁歌“不笑而哭”现象的本质为“哭即是孝,笑即是不孝”。Ku-jia-ge(wedding lament)of Tujia nationality is a kind of folk custom with both real and fake crying,among which the fake crying makes it acquire the form of drama prototype“performing stories with songs”.Based on the dramatic theory,Tujia people firstly build the image of the filial daughter by imitating the real crying under the special context of the wedding;Next,they create dramatic conflicts to consolidate the image of filial piety by smear in-laws of the bride,refusing to get married and insulting the matchmaker.And then through the means of moral restraint,a stable relationship between the bride and her kinship is formed to maintain the image of a filial daughter as the performer and the audience.Finally,a series of standardized paradigm are used to formalize the performance activities of filial piety with a long and fixed performance mechanism.And thus it reveals that the essence of the phenomenon of“crying instead of laughing”in Ku-jia-ge(wedding lament)can be interpreted as“crying is a filial piety while laughing is not filial”.

关 键 词：土家族 哭嫁歌 孝女 动作 冲突 观众 程式 

分 类 号：J607[艺术—音乐]