略论中国仪式戏剧之演进——以闽台戏剧为例

A Research on the Development of Chinese Ritual Opera:Taking Fujian and Taiwan Opera as A Case

仪式戏剧是中国戏曲发展进程中诞生的特殊形态,广义包含作为祭祀仪式之献礼的所有民间戏剧,狭义则专指巫术仪式之遗存的戏剧。闽台两地活跃着傀儡戏、打城戏、法事戏等几种仪式戏剧类型,它们由于艺术化的程度不同而在演进中呈现不同的形态。从演出市场和演出内容两方面比较可知,上述三种戏剧形态之所以止步于不同的阶段,源于文化生态的差异,尤其是"信仰"和"艺术"这两大核心文化要素之影响比重的不同。在相对闭塞、神秘的信仰仪式中,艺术因子渗入的比重有限,只能形成仪式戏剧的初级阶段——法事戏。一旦信仰环境趋于宽松,艺术比重的不断增加终使仪式戏剧的成熟成为可能。然而,通过打城戏和提线傀儡戏的对比可知,艺术比重是否能够超越信仰而推动仪式剧种向世俗戏剧蜕变,还要取决于不同的剧种特性。

Ritual opera is a special one evolved from the development of Chinese opera. In a board sense, ritual opera means all kinds of folk opera as offering of sacred rites, while in a narrow sense it just means the kind which is born from the mediumistic rites. In Fujian and Taiwan, there are different kinds of ritual opera including Line Puppet Opera, Dacheng Opera and Fashi Opera, whose character lies on different art degree. From the research of performing markets and stories, the reason why the three ritual operas have stopped their steps on different stage can be found through the di- versity of culture ecology. Especially, the two vital factors ＂religion＂ and ＂art＂ have different influences on them, which re- sults in different development degree. In the mysterious religious rites appeared Fashi Opera, the primary form of ritual opera with little artistic flavor. When the religion surrounding allows the increasing involvement of art element, ritual opera finds its way to maturity. Besides, the promotion of ritual opera into the popular one depends on the unique nature of each opera.