中国戏曲祀神禁忌探略——从蒲县东岳庙土戏亵神谈起

Taboos in Performances as Sacrificial Rituals

中国戏曲祀神崇拜业已引起很多学者的关注,尤其是对于戏神的研究,更是硕果累累。但是对于戏曲祀神演出禁忌的探讨则相对比较薄弱,多是只言片语,难成系统,对于戏曲祀神禁忌原因和结果的研究更是微乎其微。本文从蒲县东岳庙土戏亵神为出发点,通过对祀神演出中剧目、剧种、观众、演员等各方面禁忌的梳理和分析,总结出戏曲祀神禁忌的浅层目的——"神藉人以成功"——和戏曲祀神禁忌的深层原因——"人赖神以护佑",以此析微中国民众祀神的心理历程。

Worship of gods in the performance of Chinese operas has attracted much attention from researehers and resulted in fruitful findings. However, taboos in performance remained an underexplored field, and even less are reasons and results of these taboos. This paper observes taboos in relation to genre, tides, audience and performers, and tries, to generalize the surface-level meaning of operatic performance as worship to gods-gods become gods through man＇s worship, as well as its deep-level meaning-man asks for blessing from gods.