摘要
"嘛呢"表演是陈塘夏尔巴人对于西藏传统戏剧"阿吉拉姆"或"拉姆"的地方化称谓。仅从表演本身观察,两者之间的主要区别表现在服饰、面具、唱腔以及演出时间的长短等方面,两者在表演剧目和表演程式上基本一致。但是陈塘夏尔巴人的"嘛呢"表演作为当地社区戏剧化的仪式载体,所涵盖的内容和意义上有别于阿吉拉姆,前者在当地社区起到"以戏行仪"的作用,而传统的阿吉拉姆一般在乡民的生活世界里以"仪中带戏"的形式存在。本文通过对陈塘夏尔巴人社区"嘛呢"表演的实地考察,来探讨该表演模式在当地村落文化中的价值和意义。
“Mani” performance is the title of traditional Tibetan drama “A Je Lha Mo” or “Lha Mo” localized by Chentang Sherpa. Only observed the performance itself, the main difference between the two is reflected in the costumes, masks, singing and the length of performance time, etc., and in the repertoire and performance program both are basically the same. But as the carrier of dramatic ritual of local communities, the content and significance of Chentang Sherpa’s ＂Mani＂ performance is different from “A Je Lha Mo”. The former plays the role of ＂solemnization by drama＂ in the local community, while the traditional “A Je Lha Mo” generally performed as “ceremony in drama” in villagers’ living world. Based on the site visits of ＂Mani＂ performance in Chentang Sherpa community, this article discusses the value and significance of the performance model in the local village culture.
出处
《内蒙古大学艺术学院学报》
2015年第3期28-33,65-66,共6页
Journal of Art College of Inner Mongolia University
