本文選題：道教 + 舞蹈　； 參考：《中華文化論壇》2017年02期

【摘要】：道教舞蹈的虛擬性特征既鮮明又獨(dú)具特色。其虛擬性內(nèi)容主要指向兩方面:一,道教舞蹈中空間環(huán)境之虛擬性,舞蹈中"天堂地獄""華夏九州"等皆為虛擬性存在。這些虛擬性環(huán)境借助于舞蹈者的肢體語言或現(xiàn)場布景開顯而出。"化境""卷簾""立獄""罡單"的設(shè)置與鋪排、高功法師的掐訣、存想、步罡、念咒皆可營造出虛擬的天堂、地獄、九州景象。二,道教舞蹈中形象的虛擬性。"神仙鬼魅"屬于齋醮儀式舞蹈中"隱性的在場者"。"化神""召神""三獻(xiàn)""進(jìn)表""焚表""發(fā)爐""復(fù)爐""請圣""降圣""發(fā)符"等環(huán)節(jié)皆暗示出"神靈神仙"的降臨與在場。"召拷鬼怪""借臂捉鬼"等環(huán)節(jié)則牽引出"邪精惡祟"的到場。這些"隱性的在場者"是虛擬性的存在,沒有這些虛擬性的存在者,道教舞蹈的宗教意義與神圣價(jià)值蕩然無存。
[Abstract]:The virtual features of Taoist dance are both distinctive and unique. Its virtual content mainly points to two aspects: first, the virtual nature of space environment in Taoist dance, and the virtual existence of "heaven and hell" and "Huaxia Kyushu" in dance. These virtual environments come out with the help of the dancer's body language or live setting. " The setting and laying of "Gang single" in "rolling curtain", "setting up" and "Gang single", the strangling and thinking of Gao Gong mage, step Gang, mantra can create virtual heaven, hell, Kyushu scene. Second, the fictitious nature of the image in Taoist dance. " The Immortals and ghosts "belong to the" recessive presence "in the ritual dance of Zhai Festival. All the links such as "calling God", "offering God", "immolation watch", "burning furnace", "reburning furnace", "please consecrate", "descending saint", "haufu" all imply the arrival and presence of "gods and immortals". " Call cuffed ghosts, "through arms to catch ghosts," and other links are drawn out of the "evil spirit and evil haunting" of the scene. The "hidden presence" is the virtual existence, without which the religious significance and sacred value of Taoist dance disappear.
【作者單位】： 閩南師范大學(xué)歷史系;
【基金】：國家社會(huì)科學(xué)基金一般項(xiàng)目“道教舞蹈研究”(項(xiàng)目編號(hào):13BZJ036)階段性成果
【分類號(hào)】：J722.29
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本文編號(hào)：1938196