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晋东南贾村赛社戏剧历史及其当代传承一向得到学界关注,本文着力对当代贾村赛社活动恢复以来队戏《过五关》等传统祭祀戏剧的演出形态变化状况作了梳理。在当代文化生产语境下,当代贾村碧霞宫中的祭祀戏剧演出在总体上呈现出“残缺”的面貌,一方面表现为形态的残缺,另一方面表现为在当代文化生产各方力量的牵制下,丢失了传承的戏剧以一种文化拼贴的方式进行形态的呈示。祭祀戏剧形态的这一变化是当代赛会形态、文化空间涵义、经济运行模式、乐户身份地位等方面发生的变化带来的。贾村赛社戏剧形态发生的各种变化,既见证了当代赛社祭祀格局的恢复和新变过程,也映现了当代文化生产的各种面目,为我们从戏剧角度理解戏剧史变迁和文化的传承延续提供了独特的认识视角。
The drama history and contemporary inheritance of Jia Village Club in southeastern Shanxi have always been paid attention by the academic circles. This paper tries to sort out the changes of the performance patterns of the traditional sacrificial drama such as the “Five Precepts” of team play since the restoration of contemporary Jia Village. In the context of contemporary cultural production, the performance of sacrificial and dramatic performances in the contemporary Jia Village Bixiagong generally shows the appearance of “incompleteness”, on the one hand, the incompleteness of forms and on the other hand, Under the control of the square force, the lost drama is presented in the form of a cultural collage. This change in sacrificial drama form is brought about by the changes in the shape of modern competition, the meaning of cultural space, the mode of economic operation and the status of musicians. The various changes in the theater plays of Jiacun match show not only witness the recovery and the new change process of sacrificial ceremonies in contemporary Xisha clubs but also reflect the various aspects of contemporary cultural production and help us to understand drama change and culture Inheritance continues to provide a unique perspective of understanding.