“宗教礼仪”与“模仿性表达”——兼论形成戏曲的双重因素及其对戏曲审美形态之影响

"Religious Rituals"and "Imitative Expression"——Also on Double Factors for Traditional Operas' Formation and Their Influence on Aesthetic Morphology

戏曲艺术的形成和发展,并非单一路径演进的结果,而是宗教性因素和世俗性因素以及其他因素共同作用的结果。"模仿"从本质上讲,是现实主体对自己所身居世界的一种最直观的表达和阐释,是人类最为原始的表达方式;"模仿"的核心及其最基本的手段和方式是"装扮"和"表演",它与宗教行为活动层面的"仪式",在戏曲形成和发展过程中发挥着同等重要的作用;中国传统文化所体现出的时空观念,是"时间主导下的循环型的时空观念",在此文化土壤中孕生或受其文化精神影响的原始宗教和少数民族宗教的时空观念亦多如此。这一时空观念对戏曲审美机制和审美形态的形成,发挥着极为关键的作用,某种程度上,规定着戏曲艺术的未来走向,发挥着文化基因的作用。

The traditional Chinese opera does not form or develop in a single way; it is the result of vari- ous factors working together including religious and secular ones. Essentially, ＂imitation＂ is people＇ s most intuitive expression and explanation of the world, and it is the most primitive way of human expres- sion. The core and fundamental method of it is ＂dressing up＂ and ＂acting＂, which have played an impor- tant role in the formation and evolution of operas as ＂rituals＂ in religious activities do. The concept of time and space in the traditional Chinese culture is a ＂circular concept dominated by time＂, and therefore most primitive or minor religions born in or influenced by the culture also have the same concept of time and space. The concept has played a key role in the production of aesthetic mechanism and morphology ofoperas; to some extent, it formulates the future direction of operas as a cultural gene.