摘要
"猴戏"在闽南民间中十分活跃,诸多史料可证,闽南超度仪式中出现了由孙行者护送目连下地狱救母的情节,说明"猴戏"与目连故事粘连,同样具备超度功能。以泉州提线傀儡戏、打城戏为例,在推动仪式向戏剧演进过程中,"猴戏"具备两大功能,一是调笑娱乐,二是技艺欣赏。目前唯独保留在闽南傀儡戏和打城戏《目连救母》中的"雷有声"一角,从身份到行为、性格皆与仪式戏剧中的"孙行者"相类,有可能就是"猴戏"演变的遗迹。
The Monkey Play used to be very popular in S outhern Fujian. Lots of historical evidences see that the Monkey king used to convoy Mulian through the hell to save his mother during Salvation Ritual of Southern Fujian, suggesting that Monkey Play had a close relationship with Mulian Story and owned the function of salvation as well. Taking Puppet Opera and Dacheng Opera in Quanzhou for an example, the Monkey Play has played an important part as entertainment and feat enjoyment in the process from ritual to opera. It shouldn＇t be ignored that there was a role called Lei Yousheng existing only in Quanzhou＇s Puppet Opera and Dacheng Opera. His acting and character were almost the same with Monkey King＇s, which suggests that Lei Yousheng may be the vestige of Monkey Play in history.
出处
《闽台文化研究》
2017年第2期43-52,共10页
Fujian-Taiwan Cultural Research
基金
2016年度福建省哲学社会科学研究基金青年项目:"闽南戏文传播研究"(FJ2016C180)
关键词
猴戏
雷有声
打城戏
Monkey Play
Lei Yousheng
Dacheng Opera
