乡民与戏剧：西藏的阿吉拉姆及其艺人研究

【作者】 桑吉东智；

【导师】 苏发祥；

【作者基本信息】 中央民族大学 ， 民族学， 2012， 博士

【摘要】 西藏传统戏剧阿吉拉姆自诞生至今已有六百多年的历史了,追溯其源头直至前佛教时期的民间信仰和仪式活动。在漫长的历史长河中,作为与乡民的生活世界息息相关的艺术实践,阿吉拉姆既承载了西藏乡土社会的文化记忆,也承载了乡民社会所经历的宗教、文化、历史的演变和遭遇。虽然以往的大多数研究将关注的重点放在了阿吉拉姆的诸艺术现象上,但其艺术之外的意义和价值更值得研究者注目。本文以时间为轴线,阿吉拉姆与其实践主体乡民的关系为语境,根据笔者对西藏日喀则地区仁布县仁布乡江嘎尔群宗村江嘎尔瓦和拉萨市堆龙德庆县古荣乡那噶村那嘎拉姆两个阿吉拉姆的团体以及以拉萨为中心的阿吉拉姆演出活动的实地跟踪调查为依据,试图从乡民生活和生命中的阿吉拉姆为观察视角,揭示阿吉拉姆在西藏民间得以传承至今的动力和意义。另外,通过对20世纪50年代以来阿吉拉姆专业、业余分化、研究界的话语方式以及非物质文化遗产概念对民间阿吉拉姆的影响,反观以往的研究,试着以总结过去的态度提出研究西藏民间艺术的新思路。论文由导论、四章正文和结论组成,各部分主要内容如下：导论部分主要从笔者与藏族民间戏剧的缘分出发,提出选题的原由、梳理国内外相关研究的动态的以及由此反思以往研究并提出本篇论文的价值所在,然后是本篇论文的研究视角和研究方法的介绍。第一章主要是对田野调查过程的梳理,以田野空间和田野时间为区分,田野空间主要介绍笔者田野调查的地域和环境；田野时间主要以进入调查的时间为起点,将笔者在几个调查点之间往返走动的时间为序,叙述田野中的点滴经历,这部分内容主要以笔者的田野日志为主,其目的是想通过对田野中的人和事的描述,试图从一位研究者的视角观察目前西藏乡村的生活常态以及人在其中的精神状态,尤其想作为阿吉拉姆实践主体的“拉姆瓦”(阿吉拉姆的表演者)在表演之外的生活常态。这章既是笔者对田野经历的梳理,也是对整篇论文语境的铺垫。第二章是对阿吉拉姆起源到诞生的论述。在以往的研究中,关于阿吉拉姆的起源众说纷纭、莫衷一是。归结这些归结起来就是民间艺术起源说和宗教艺术起源说两种。然而,由于研究者过于从一些具体事项来探讨起源过程,因此总有一种隔靴搔痒、不达本质的感觉。为此,笔者在文中以阿吉拉姆开场表演中的典型人物形象以及相关的符号作为切入点对阿吉拉姆的起源进行了初步探讨,同时论述了阿吉拉姆鼻祖汤东杰布以这些典型形象和符号为载体,以“旧瓶换新酒”的办法把佛教故事融入其中,促使阿吉拉姆诞生的。第三章是从阿吉拉姆的三段式结构模式中的中间段“雄”(gzhung)作为核心,以藏传佛教佛教“后弘期”佛经翻译和佛本故事等文学体裁的藏译及本土化为背景,来探讨阿吉拉姆从仪式化表演到戏剧艺术表演的演变和发展。尤其从17世纪中以来,由于民间阿吉拉姆团体与官方的互动。特别是以“雪顿”(zho ston)为契机的阿吉拉姆表演活动更使其艺术化过程不断加速。第四章是以五十年代西藏历史巨变作为节点,论述阿吉拉姆记忆实践主体在新的历史语境中发生的翻天覆地的变化以及面对新的挑战和机遇乡民艺术团体所作出的反应。新西藏的历史机遇,为传统的阿吉拉姆注入全新的血液,使其有了全新的、专业化的发展机遇,至此历史上的阿吉拉姆团体分化为专业、业余两种。专业团体以新西藏的历史叙事为己任,成为“国家剧场”的组成部分。而业余的阿吉拉姆团体依然作为乡民生活世界的组成部分绵延于民间。由于笔者关注的是乡民的艺术实践,因此对专业界的论述只作为背景来论述,故未作深入研究。而将业余的、任在乡民社会中的阿吉拉姆的历史机遇和挑战作为重点,结合新西藏历史上的各个时期及历史事实作为背景,通过四位艺人的不同经历来探讨民间阿吉拉姆团体和艺人们所面临的机遇和挑战。结语既是对整篇论文的总结,同时也是本研究的最终的落脚点。共分三个部分,第一部分是对以往研究话语形式的反思,也是对未来阿吉拉姆研究界提倡“他者眼光”、将本土知识体系和分类模式作为研究资本的期许。第二部分是关于对阿吉拉姆传承的一些思考,我们将它视为很多人所谓的“活化石”呢?还是以它在民间传承至今的内在逻辑作为传承方式的一种希望所在?现代戏剧的标准是不是最终的评判标准?对此表达了笔者所思所想。第三部分是笔者通过对西藏阿吉拉姆及其艺人的研究过程,了解到关于研究者在研究西藏民间艺术时需要思考的一种思路和观念上的认识,即由“吉兆”(rten ’brel)和“妄想”(rnam rtog)构成的观念形态,这样的观念形态促成了西藏民间艺术表演的总体形态和价值取向,虽然其中也不乏其他的价值最求,但是这样一种观念形态相对稳定而普遍,几乎以一种“结构”的性质支撑着西藏的民间艺术表演,值得研究者思考。更多还原

【Abstract】 The traditional Tibetan Ache Lhamo Opera has a history of about six hundred years, and has its roots in folk beliefs and ritual activities from the pre-Buddhist era. As an artistic practice closely linked to village life, Ache Lhamo carries the collective cultural memory of Tibetan rural life in its soul, and has been heavily influenced by the bitter experiences and historical changes that have occurred in Tibetan society, religion and culture over the ages. Most research to date has tended to focus on the artistic side of Ache Lhamo Opera, but the value and significance of this form of opera goes far beyond its role as an artistic phenomenon, and it is perhaps this other side that is more worthy of attention.This chronological study looks at Ache Lhamo and its practice as a form of opera in the context of its links with Tibetan rural life, and attempts to reveal the significance of and the motivations behind the development of Ache Lhamo opera in Tibetan life from the perspective of the role of Ache Lhamo in the lives of Tibetan villagers, based on research and field studies conducted by the researcher on the Gyangkarwa Troupe in Gyangkar Dzong Village, Rinpung Township, Rinpung County in the Shigatse region and the Naga Lhamo Troupe in Naga Village, Gurong Township, Tolung Dechen County in the Lhasa region. At the same time, the author attempts to look back on previous studies and propose a new approach to research on Tibetan folk art by summarizing past attitudes stemming from the differentiation of professional and amateur performances of Ache Lhamo opera in the1950s, the discourse of the academic world as well as the impact of Ache Lhamo’s listing as world intangible cultural heritage.This paper is composed of an introduction, four chapters and a conclusion. The introduction explains the reasons behind the choice of theme of this study and examines general research trends conducted both in China and abroad on the topic, as well as reflections on the value of the new approach employed in this thesis in relation to previous studies on the topic, before finishing with the research perspectives and methodologies used in this study. The first chapter sets out the field research process, and is divided into two parts, the first focusing on the spatial environment in which the author conducted the research, and the second on the chronological outline of the research, with a detailed description of the researcher’s field experience, starting from the point where the study began and moving on to the different places visited during the study. This part was based on the researcher’s logbook and constitutes an attempt to, from a researcher’s point of view, observe life in Tibetan villages, as well as take a closer look at the spiritual side of Tibetan villagers’lives, and particularly the non-artistic side of the lives of the "Lhamowa"(the Ache Lhamo performers), as indispensable components of the practice of Ache Lhamo opera. In short, the first chapter describes the context of the author’s field research, and acts as a scene setter for the rest of the thesis.The second chapter looks at the history of Ache Lhamo from its origins to its creation. In previous studies, the origins of Ache Lhamo have been the focus of much debate and divergence. To put it simply, the principle diverging views on the origins of the opera can be summarized into two main camps:one that believes that Ache Lhamo originated in folk art, and the other that contends that it stemmed from religious art. However, researchers have often failed to get to the heart of the matter, tending to place too much focus on individual and specific aspects of the opera to explain its origins. The author has therefore attempted to probe into the origins of Ache Lhamo by looking at the typical characters and their related symbols in the opening acts of the opera performances, while analyzing the typical imagery and symbols used by Ache Lhamo’s founder, Thangtong Gyalpo, and attempt to take a fresh look at how Buddhist stories were integrated into the performances, leading to the birth of Ache Lhamo.Chapter Three looks at the evolution of Ache Lhamo opera from its ritual form into a form of artistic drama, focusing on the gzhung section of the three-part Ache Lhamo opera, and resorting to Tibetan texts from the Monastic Period and the Tibetan translations and domesticated versions of the stories from the life of Buddha. In the seventeenth century, Ache Lhamo folk troupes began interacting with the authorities, and the Shoton Festival created an unprecedented opportunity for the accelerated development of Ache Lhamo into a more artistic form of drama.Chapter Four starts with the historical upheaval that took place in Tibet in the1950s and analyses Ache Lhamo opera in its new historical context, incurred after the huge changes that took place as a result of that upheaval, as well as the reaction of Ache Lhamo performance troupes to the new challenges and opportunities posed by those changes. These historical opportunities have breathed new life into traditional Ache Lhamo opera, giving it a brand new opportunity in terms of its professionalization, with troupes being classified as either professional or amateur. Whilst the professional opera troupes have found themselves at the service of the historical narrative of the "New Tibet", and the performers of these troupes now form an integral part of the "national theatres", the amateur Ache Lhamo troupes continue to flourish as an important part of village life. My focus on the artistic practices of the villagers means that I have not analysed the professional world of Ache Lhamo opera in great depth, and any analysis of the professional troupes is merely for background material. My focus is on the historical opportunities and challenges faced by rural, amateur folk Ache Lhamo troupes and their performers, based on the experiences of four Ache Lhamo performers, against the backdrop of Ache Lhamo in the different historical periods since the establishment of the "New Tibet".The conclusion is a summary of this thesis and the study as a whole, and is divided into three parts. The first part reflects upon the ideological discourse of previous studies, and advocates looking at Ache Lhamo opera from the perspective of "the other", with the hope that the value of local perceptions and classifications of this particular form or drama can be taken into account in future research. The second part looks at Ache Lhamo as heritage. Should we see this form of drama as a "living fossil", or has Ache Lhamo opera evolved over the ages according to its own internal logic? And should we perhaps not rethink the criteria we use to assess modern drama? The third part analyses the research process employed by the author in his study of Ache Lhamo opera and Ache Lhamo performers, as well as the kind of approach researchers engaged in studies of Tibetan folk art should consider, including the concepts of rten brel and rnam rtog, since these concepts have made Tibetan folk art what it is today. Even though there may be many other ways of looking at the research of this type of opera, these approaches and ways of thinking are a constant presence in the deeply rooted subconscious of Tibetan folk art, and are therefore worthy of reflection.更多还原