表演理论视域下土家族哭嫁的生命仪式探析  

An Analysis of Tujia Nuptial Laments as Life Rituals from the Perspective of Performance Theory

作　　者：冯伟凡 FENG Weifan(School of Chinese Language and Literature,Yunnan Normal University,Kunming 650500,China)

机构地区：[1]云南师范大学文学院,云南昆明650500

出　　处：《苏州教育学院学报》2025年第2期66-73,共8页Journal of Suzhou College of Education

基　　金：云南省高层次人才培养支持计划(YNNR-QNBJ-2020-171);云南师范大学优秀青年学者项目(2019YQN01)。

摘　　要：土家族哭嫁在民间有着广泛而深远的影响,这与土家族独特的民俗心理密切相关。仪式中哭得好不好、感情够不够悲切是衡量传统土家族女子才能的标准之一。哭泣、歌唱、语言构筑了土家族哭嫁的基本单元。“表演理论”以“表演”的视角探索口头语言艺术及仪式的多重意涵,文章以该理论分析土家族哭嫁,发现这种民俗实为土家族女子从少女向已婚女子转变的“生命仪式”,主要涵盖新娘在婚事中“表演”哭嫁、族群中众多女性角色与新娘之间的关系重构、族群评判哭嫁的效果三方面。土家族哭嫁是在特殊的时间与空间里,土家族女子对男权制婚姻不满的历史呈现,因其抒情歌谣的形式及独特的艺术性,土家族哭嫁也将永久镌刻于土家族漫长的历史记忆中。The Tujia nuptial lament(kujia)holds profound significance in folk society,deeply rooted in the ethnic group's unique psychological customs.Within this ritual,the quality of weeping with its emotional intensity and authenticityserves as a key criterion for evaluating a traditional Tujia woman’s competence.Crying,singing,and linguistic artistry constitute the fundamental elements of kujia.Employing performance theory,which examines oral traditions and rituals through the lens of“performance”,this study reveals that kujia embodies a“life ritual”marking a woman’s transition from maidenhood to adulthood.The analysis focuses on three dimensions:the bride’s performative lamentation,the reconfiguration of social roles among female participants,and the community’s collective evaluation of the performance.Historically,kujia reflects Tujia women’s discontent with patriarchal marital norms,articulated through a unique spatiotemporal framework.Its lyrical artistry and emotive power ensure its enduring place in the cultural memory of the Tujia people.

关 键 词：土家族 哭嫁 表演理论 摹仿欲望 生命仪式 狂欢诗学 

分 类 号：I207.7[文学—中国文学]