非遗保护视阈中的梅山傩戏“五态”研究

RESEARCH ON THE “FIVE STATES” OF MEISHAN NUO OPERA FROM THE PERSPECTIVE OF INTANGIBLE CULTURAL HERITAGE PROTECTION

在梅山傩戏[1]进入国家级非物质文化遗产保护名录之后,各级文化管理部门对其采取了一系列的保护措施,希望能够使已失去原生"五态"环境的梅山傩戏焕发新的生命力。但"保护措施"并不是梅山傩戏自身性和渐进性的文化互融或文化接纳,而是一种外来的、强势的且具有某种行政意味的文化干预。这种文化干预是"临终关怀"?还是真的能够使其涅槃重生?若要获得涅槃重生,是否要接受外来强势文化中的文化基因,来进行自我文化本体的文化重构?

after meishan nuo opera entered the national intangible cultural heritage protection list, The cultural authorities at various levels have taken a series of protective measures against them.Hope can make the plum hill nuo opera of the lost native ＂five state＂ environment rejuvenate. After Meishan Nuo Opera entering the national intangible cultural heritage protection list, the cultural management departments at all levels have taken a series of protective measures to protect them. They hope that Meishan Nuo Opera, which has lost its five original ecological environment, can glow with new vitality.But the ＂protection measures＂ are not the cultural dissolution or cultural acceptance of Meishan Nuo Opera in itself and in the process of development. It＇s a foreign, power- ful, and somewhat administrative cultural intervention. Is this cultural intervention hospice care？ Or is it really possible to make it alive？ If you are to be reborn, will you accept the cultural genes of foreign culture to reconstruct the self - cultural ontology？