Sumozhe Suppressed, Huntuo Halted： An Investigation into the Nature and Stakes of the Cold-Splashing Sogdian Festal Dramas Performed in Early Eighth Century Tang China

这篇文章调查二个特定的戏剧的元素 -- 在“争论的冷打起浪花的 Sogdian 戏”的核心的 huntuo 和 sumozhe (pohan huxi。huntuo 能是一顶感到的帽子，油布，一条毛皮饰头巾，或一个剧场的脱衣舞。与深多种文化的根， sumozhe (samja ) 把假面舞会，回廊戏剧，跳舞，和音乐合为狂暴的景色。除了检验位于公共表演和帝国支持下面的高文化的木桩(或禁止) 这些戏在早第八世纪唐阿，这篇散文建议在这些冬天的节日的戏剧和土耳其语的 K 之间的一个连接 ? se 戏。

This article investigates two specific dramatic elements--the huntuo 浑脱 and the sumozhe 苏摩遮-at the core of the controversial ＂cold-splashing Sogdian plays＂ （pohan huxi 泼寒胡戏）. The huntuo could be a felt hat, an oilcloth a pelt headdress, or a theatrical striptease. With deep multicultural roots, the sumozhe （samaja） combined masquerade, ambulatory drama, dance, and music into a boisterous spectacle. In addition to examining the high cultural stakes underlying the public performance and imperial support （or prohibition） of these plays in early eighth century Tang China, this essay proposes a link between these hibernal festal dramas and Turkish Kose plays.