簡論宗教與戲劇之關係——以儺戲寺廟劇場與元明清雜劇爲論述内容
Brief Discussion on the Relationship between Religion and Opera—Nuo Play Temple Theater and the Mixed Opera in Dynasties of Yuan, Ming, and Ching
DOI:
https://doi.org/10.24112/sinohumanitas.142500Keywords:
戲劇, 戲曲, 宗教, 儺儀, 儺戲, 劇場, 雜劇, Opera, Play, Religion, Nuo ceremony, Nuo play, Theater, Mixed operaAbstract
LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文所謂的“宗教”,是指中國人所信仰的賽社、驅儺與儒釋道而言;所謂的“戲劇”,則指凡“演故事”者皆屬之,包括“合歌舞以代言演故事”的“戲曲”在内。宗教與戲劇關係錯综複雜而密切,限於篇幅,實難進行周延而深入的探討。因此這裏嘗試提綱挈領的從五個方面來探討這個問題:(一)先秦儺儀與戲劇、戲曲的源生,(二)由現今儺戲觀其“儀”與“戲”交替雜糅之關係,(三)宗教儀式與戲劇演出之交互運用關係,(四)由寺廟劇場觀察宗教與戲劇之關係,(五)雜劇中宗教劇所蘊含的意識形態。
“Religion” mentioned in this article refers to Sai She, Qu nuo and Confucianism Buddhism Taoism in traditional Chinese belief. And “opera” refers to “play a story”, including the “Play” which “combines song and dance to play a story”. The relationship between religion and opera is close and complicated; limited to space, it is difficult to have a comprehensive and thorough discussion. We, therefore, try to concentrate on the main points from five aspects as follows: (1) the sources of nuo ceremony, opera and play in pre-Chin Dynasty; (2) the mingled relationship between “ceremony” and “play” from the perspective of contemporary nuo play; (3) the alternating application of religious ceremony and opera performance; (4) the relationship between religion and opera from the perspective of temple theater; (5) the ideology contained in religious mixed opera. We obtain research materials only from the mixed operas in Yuan, Ming and Ching Dynasties without a comprehensive and thorough investigation, due to the limitation of time and space.
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