否定之否定：长阳土家族“跳丧”仪式的研究

【作者】 黎力；

【导师】 孙惠柱； 王邦雄；

【作者基本信息】 上海戏剧学院 ， 戏剧戏曲学， 2008， 博士

【摘要】 “跳丧”仪式是湖北长阳土家族典型的祭祀性仪式,现代土家人的生活中无论哪家有老人去世,周围乡邻都会闻讯而来,“人死众家丧,一打丧鼓二帮忙”,以“跳丧”的形式怀念亡人,安慰生者。追溯到远古时期,跳丧是极富神秘和庄重的少数民族仪式,个个土家先民都是这祭祀仪式的参与者;如今现代土家人民已经冲破了阶层等级的禁锢,哪家有老人去世,都会在自家宽敞的场地上跳丧,为老人走上顺头路而送福,人们为叫歌技艺高超的掌鼓师而喝彩,也为在拟虎动作中挥汗如雨的舞者而叫好,女人的参与更是对土家族先祖的一大挑战,甚至还有家中老人未去世便以“跳活丧”代替祝寿的超脱豁达的方式,这是古老的跳丧仪式在现代土家人民生活中的继承和发展;覃发池这位地道土家农民的后代,在自己酷爱民族舞蹈艺术的同时,不忘记本民族风俗仪式的传承,他求变求新,把“跳丧”从棺材中解放出来,抛开了“死亡”这些遭人忌讳的字眼,将跳丧改编成优美绝伦的巴山舞送上了艺术的舞台,音乐和舞蹈的统一规范,使得巴山舞成为彻底的剧场艺术,演员和观众界限分明,同时,巴山舞还逐渐走向银幕,出现在影视剧、歌舞剧中;巴山舞由土家跳丧仪式而来,一经登上舞台便离普通民众距离稍远,因此在城镇的广场上民众自发形成了以跳巴山舞强身健体为目的的团体组织,从此巴山舞从单纯的舞台艺术享受变为集民族性、艺术性、群众性与体育性于一体的综合性广场健身运动,走进了平常百姓家,还走向了全国;长阳土家族的民族民间文化丰富多彩,包括跳丧仪式在内的多种民俗风情现在出现在各处风景名胜的仪式剧场体验生活中,虽然有优劣之分,但少数民族仪式化生存的状态开始影响外来民众,同时也自然带来了经济效应,这是原始仪式最大的现代适应性体现。由长阳土家族“跳丧”仪式演变而来的各种形式现在奇特并存,并未因为否定和改变而消失,反而是在否定之否定的过程中不断优化、发展,逐渐适应现代生活,这是历史的偶然也是必然。因此本文从上述不同历史时期分别阐述长阳土家族“跳丧”仪式的演变,外部的推力和历史原因,以及内部文艺工作者等人的辛勤投入都是促成这些否定之否定过程的动力。而在这些不断的演变中,不论原始仪式、舞台艺术还是城镇广场的体育锻炼和旅游区体验式仪式剧场生活,观演关系、剧场活动等都是随之变化的,这是本文发现其否定之否定过程外的着力点,主要通过作者亲身体验、寻访艺人及对文献音像资料的分析等直接或间接的来获得。探究特殊的民族传统仪式的剧场演变,是本文的初衷,而在探究中思考仪式剧场在现代社会中的发展和前景,以及现代城市居民社会生活中的需求,则是本文更深远的意义。更多还原

【Abstract】 The Funeral Dance is one of the typical fetes for Tujia ethnic minority in Changyang, Hubei Prov. In modern Tujia people’s life, when an elder passes away, the neighbors will hasten to the deceased person’s home in groups to memorize the deceased and comfort the relatives and friends in the means of funeral dance. Back to the ancient times, the Funeral Dance is a very mysterious and grand minority ritual. Now modern Tujia people have broken the shackles of class, and participated in the ritual for elder deceased, dancing in a commodious ground with the interaction of audience to memorize the deceased; acclaiming for the drummer’s talented singing and dancers’tiger-like movements. The Funeral Dance reflects Tujia people’s philosophy of life and death. They are open-minded, considering death as natural as the rotation of the four seasons and therefore deserving a happy ending. Plus, the participation of women becomes a big challenge towards the ancestors, and also that some people start to use the Funeral Dance to celebrate the elders’birthday broaden the development of ancient Funeral Dance.The Funeral Dance is an activity involving many participants and has been handed down through generations. Now many cultural departments have recognized the importance of protecting the Funeral Dance and the tradition itself. It’s Qin Fachi, an offspring of local Tujia people, that composed the Ba-mountain Dance by inheriting and refining the Funeral Dance with his unique insight and bold innovation in the 1970s. He brings the Ba-mountain Dance to the stage of art and separates the audiences from actors as the dance turns to formal theater art. And also the dance turns up in the film,TV drama and musical .Meanwhile, people start to dance in groups on the squares in the town on the purpose of exercising. The Ba-mountain Dance has stepped into a new stage of all-around sports exercise from every family in the town to the whole country. And the diverse folk culture in Tujia minority in Chanyang has brought economic benefit as the Funeral Dance and other folk art show up in the scene spots in which the tourists experience the folk culture in the ritual theatre. This is just the modern embodiment of the original fete.Many forms of dance derived from the Funeral Dance coexist in diversity and develop in the voice of denial. This essay expatiate the development of Funeral Dance in different historic periods, for the external forces and historic reasons. No matter it is original fete, stage art, mass sports exercise or experiencing ritual theatre, the relationship between audience and actors and the activity in the stage change as it goes .This is the point in this essay through the means of self experiencing, interviewing with the art workers and the study of documents and media data. The initial goal of this essay is to explore the theatre evolvement of traditional ethnic ritual with the further study of the development and the demand of ritual theatre.更多还原