论唐代百戏观演生态之发展  

On the Ecology of Acrobatic Art Viewing in Tang Dynasty

作　　者：钮思渝 NIU Siyu

机构地区：[1]上海戏剧学院,上海200040

出　　处：《浙江艺术职业学院学报》2023年第2期18-23,共6页Journal of Zhejiang Vocational Academy of Art

摘　　要：唐代百戏作为“俗”的艺术形式,相关资料的辑录并不完善,尤其是百戏观演生态之发展需详细考辨《全唐诗》、两唐书、敦煌文书等相关古籍,才可见这些散落在史料中的史证,探明盛世戏乐发展。就唐代百戏观演场所而言,可从空间活动上分为宫廷观演场所、宗教庙宇观演场所、市井商业观演场所等,其中运作呈现由皇室贵族垄断管制下移至市井参与的特点。基于此,融合百戏观演运作和唐时社会风貌,将观演场所流变和乐伎与活动管理模式作为整体辨析,旨在厘清百戏观演生态之发展。This paper discusses the operation and development of acrobatic performance activities during the flourish⁃ing period of Tang representative performing arts.As a“vulgar”art form,the compilation of relevant materials is not perfect,especially the development of acrobatic performance ecology requires detailed examination of the Quan Tang Poems,the Two Tang Books,Dunhuang documents and other related ancient books,in order to explore the develop⁃ment of prosperous opera through these historical evidences scattered in historical materials.In addition,scholars rarely examine the ecology of performances in the context of folklore,as far as acrobatic performance venues in Tang Dynasty are concerned,they can be divided into palace viewing venues,religious temple viewing venues,and market commercial viewing venues from spatial activities,among which the operation of the venues presents the characteris⁃tics of moving from the monopoly control of the royal family and aristocrats to the market to participate in the opera⁃tion.Therefore,this paper integrates the operation of acrobatic spectators and the social outlook of Tang Dynasty,and analyzes the development context of the performance venue and the management mode of acrobats and activities as a whole,aiming to clarify the development of the ecology of acrobatic art viewing.

关 键 词：唐代百戏 观演空间 戏乐生态 乐伎 

分 类 号：J892.4[艺术—戏剧戏曲]