南戏“活化石”:莆仙戏舞蹈身体构型论  

“Living Fossil”of Nanxi:Study on the Dance Body Configuration of Puxian Opera

作　　者：朱祥虎 Zhu Xianghu(School of Music,Guangxi Normal University)

机构地区：[1]广西师范大学音乐学院

出　　处：《中国舞蹈学》2023年第2期91-112,342,343,共24页CHOREOLOGY IN CHINA

基　　金：教育部人文社科基金青年项目“莆仙戏表演中的舞蹈身体研究”(项目编号:22YJC760140);国家社科基金艺术学重大项目“新中国成立70周年中国戏曲史(福建卷)”(项目编号:18ZD09)的阶段性成果。

摘　　要：南戏“活化石”之莆仙戏把舞蹈身体作为一些核心手段的定位场所,是因为一个社会或文化必然经由这些手段传输给人们感觉性自我塑造、具身性技术和规则与心智化的品味和倾向。进而莆仙戏舞蹈身体可以分出宗教仪式、民俗语言与艺术体态三种类型:佛道仪式演剧是以民间宗教信仰的善恶报应来规范人的社会行为,珍视生命与崇尚和谐仁爱的妈祖文化则推进了莆仙戏舞蹈身体的形成与发展;莆仙戏方言曲白的古老性与地域性特征固守着演员的社交态身体,而来源丰富的民间音乐激发出相当程度的风格化和文明化身体行动;广泛流行于莆仙的杂剧与南戏凸显出官方与民间、抒情与揶揄之间的艺术区隔和渗透,进而奠定了莆仙戏基于人物行当的表演程式、体系与精神。Puxian Opera,the“living fossil”of the Nanxi,takes dancing body as the positioning place of some core means,because a society or culture is bound to transmit to people the taste and tendency of feeling self shaping,embodied technology,rules and intellectualization through these means.Furthermore,the dance body of Puxian Opera can be divided into three types:religious ceremony,folk language and artistic posture.The ritual performance of Buddhism and Taoism is to regulate people’s social behavior with the good and evil retribution of folk religious beliefs.The Mazu culture,which values life and advocates harmony and benevolence,promotes the formation and development of the dance body of Puxian Opera;The ancient and regional characteristics of the dialect sing in Puxian Opera stick to the actor’s social body,while the rich folk music stimulates a considerable degree of stylized and civilized body action;The Zaju and Nanxi,which are widely popular in Puxian,highlight the artistic separation and penetration between the official and the folk,lyric and teasing,and thus establish the performance program,system and spirit of Puxian Opera based on the characters’profession.

关 键 词：南戏 莆仙戏 妈祖 莆仙方言 科介式表演 

分 类 号：J82[艺术—戏剧戏曲]