清代以来阳戏的演变与发展  

Evolution and development of Yangxi since the Qing dynasty

作　　者：陈玉平[1] CHEN Yuping(School of Ethnology and History,Guizhou Minzu University,Guiyang 550025,China)

机构地区：[1]贵州民族大学民族学与历史学学院,贵州贵阳550025

出　　处：《浙江师范大学学报(社会科学版)》2025年第2期13-21,共9页Journal of Zhejiang Normal University(Social Sciences)

基　　金：国家社科基金重大项目“西南少数民族戏剧中华传统题材剧本整理与研究”(22&ZD283)。

摘　　要：阳戏是主要流传于西南地区的一种具有傩戏元素的民间戏剧种类,是傩戏的一个分支。自清代以来,阳戏在表演形态上发生了一系列变化,主要表现在:戏神崇拜由“三圣”(川主、土主、药王)演变为“四圣”(外加“文昌”),“文昌”作为戏神处于相对独立的状态;逐步形成独立的演出空间(舞台);表现世俗生活的剧目数量越来越多;佩戴面具表演越来越少,化妆表演越来越多,娱人功能渐趋增强;一些地方出现了专业编演人员和专业剧团。各地阳戏不同的历史渊源和表演传统,导致今天阳戏不同的表演形态。阳戏在保留傩戏的某些核心要素的同时,出现了“非傩化”的趋向。Yangxi is a type of folk play with Nuoxi elements and is mainly spread in southwestern China.It is a branch of Nuoxi.Since the Qing dynasty,Yangxi has undergone a series of changes in performance forms,primarily manifested in the following ways:The deities worship have evolved from the“Three Saints”(Sichuan Master,Earth Master,and Medicine King)to the“Four Saints”(with the addition of“Wenchang”),with“Wenchang”being in a relatively independent state among the theatrical deities.Yangxi has gradually formed an independent performance space,or stage.More and more plays depicting secular life have emerged.For instance,there are fewer mask performances and more makeup performances,indicating the function of entertainment being enhanced.In some areas,professional playwrights and theater troupes have appeared.The diverse historical backgrounds and performance traditions of Yangxi in various regions have led to its various performance forms today.While retaining some core elements of Nuoxi,Yangxi has shown a trend of drifting away from Nuoxi.

关 键 词：阳戏 傩戏 演出空间 面具 化妆 

分 类 号：J825[艺术—戏剧戏曲] I207.36[文学—中国文学]