【摘要】：在中國傳統(tǒng)戲劇中,有兩大類演出藝術(shù)形態(tài)——戲曲與祭祀儀式劇。二者不同而相類,分別而交流,卻始終未能走向一致,融合而為一。戲曲不能全面覆蓋祭祀儀式劇,而祭祀儀式劇更不能取代戲曲。二者在演出形態(tài)上迥然不同,也在展演空間上存在很大區(qū)別。祭祀儀式劇自古迄今未能脫離祭祀壇場而獨立為藝術(shù)商品,從整體而言,它始終以神靈供品的屬性活躍在村落,展演在各種各樣的祭祀空間中;而戲曲至遲在勾欄出現(xiàn)之后,已經(jīng)完成其作為藝術(shù)商品的蛻變。更加重要的是,祭祀儀式劇雖然歷史悠久,卻始終沒有形成腳色行當體制,而戲曲卻早已用腳色行當這個具有中介性質(zhì)的體制去塑造人物,敷衍故事,戲曲與祭祀儀式劇的根本區(qū)別恰在于此。
[Abstract]:In Chinese traditional drama, there are two kinds of performing art forms-opera and ritual drama. The two are different and similar, and communicate separately, but they have never been consistent and merged into one. Opera can not completely cover ritual drama, and sacrificial ritual drama can not replace opera. They are very different in the form of performance, but also in the exhibition space is very different. Since ancient times, sacrificial ritual drama has not been separated from the sacrificial altar and has become an independent art commodity. On the whole, it has always been active in villages with the attributes of spiritual offerings, and it has been displayed in various sacrificial spaces. Its transformation as an art commodity has been completed. What is more important is that although sacrificial ritual dramas have a long history, they have never formed a system of impersonation. However, drama has long used the system of impersonation as an intermediary to portray characters and perfunctory stories. The fundamental difference between opera and sacrificial ritual drama lies in this.
【作者單位】： 中央戲劇學院;
【基金】：2014年度國金社科基金重大項目《中國儺戲劇本整理與研究》之子項目《中國儺戲與東亞傳統(tǒng)戲劇比較研究》成果(批準號:14ZDB077)
【分類號】：J805

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