民间小戏的女神信仰与乡村女性社会——以定州秧歌为例

The Worship of the Goddess in Folk Operas and Women Community——A Case Study of Yangge Dance in Dingzhou

以秧歌为代表的民间小戏,既是为统治上层不屑和压制的对象,也是在森严的伦理等级制度中更具有空隙的所在,此种情形下它与底边女性群体特殊的密切关系值得注意。乡村女性在与她们所珍视的小戏的互动中,发展出一套沟通、弥合上层教化与日常关切和情感需求的复杂话语系统。频繁出现的女性神祇,正可以视作民间小戏与底边女性之间心照不宣的契约、一种自证合法性的修辞,为我们打开了以秧歌为代表的民间小戏和乡村女性交感、互动的别样天地,在民俗土壤日渐淡薄的今天尤值得审视。

Folk Operas such as Yangge dance are so suppressed and neglected by the upper class that they have to face the narrow restrained development in rural areas in feudal hierarchical society. In such circumstances, it is needed to pay special attention to the special intimate relationship between folk operas and rural women. In the interaction of the rural women and their cherished folk operas, it forms a complicated discourse system to bridge feudal ethics, daily concerns and emotional needs. Therefore, the phenomenon that Goddess frequently appear in folk operas can be regarded as a kind of tacit understanding between rural women and folk operas, or a self-proved rhetoric, which reveals their profound interactions. The study has particular significances from the perspective of folk culture.