敦煌遗书戏剧乐舞问题补述

New Thoughts on Drama and Dance Accompanied by Music in Dunhuang Manuscripts

对敦煌遗书中的"后座"、"头"、"了"、"钟馗"等问题作出考析,可得出以下新的看法:其一,《宋国清破用请凭牒》提到的"后座"一词,与唐宋乐舞、宋元戏剧、元明队戏表演中的乐官、乐部、后行等含义相当;其二,敦煌舞谱"头当中心"一语的"头"字,乃指唐宋大曲队舞中的"队头";其三,在"了"字提示的使用上,敦煌遗书中的俗讲程仪、南宋大曲曲本、元人杂剧剧本有一脉相承的关系,均与北宋宫廷大曲用"讫"不用"了"的情况不同;其四,在敦煌傩仪中,钟馗已取代了方相的位置,其扮演者应为乐营中善舞的乐人。

This paper presents some new ideas： First, the ＂back seat＂ in Dunhuang Manuscripts means those accompanists sitting in the back of the bank. Second, ＂head＂ in the sentence ＂head as the leader＂ in Dunhuang dance manuscripts corresponds to ＂dui-tou＂ （the first one of the team） of the grand dance show in the Tang and Song Dynasties. Third, the use of the suggestive word ＂liao＂ in Dunhuang Manuscripts is consistent with the texts of Vulgar Talk and Grand Dance Shows of the southern Song Dynasty and the Poetic Drama of the Yuan Dynasty, similar to the texts of court dance show of the northern Song dynasty, which used ＂qi＂ instead of ＂le.＂ Finally, Zhong Kui in local religious ceremony at Dunhuang may be acted by a good dance musician in the music bank.