湘中梅山傩戏传承现状与解困论析——以梅山傩戏代表性坛班阳君坛为例

On the Current Inheritance Situations and Countermeasures of Meishan Nuo Opera in Central Hunan Province: a Case Study of Yang-jun-tan Troupe

文章拟选取“集祖先、傩神、巫傩艺人(师公)三位一体”传承梅山傩戏最为典型的代表性坛班阳君坛为例,通过对该坛班的历史渊源概况、传承谱系、坛班结构及财务情况等的调研,对梅山傩戏存在的三大困境进行了详尽的分析,进而,通过力争将梅山傩戏纳入整体保护,拓宽梅山傩戏的生产性保护渠道,提升梅山傩戏剧目品质,构建梅山傩文化资源“线上+线下”展示与体验平台来保障梅山傩戏的有效传承与保护。

This essay attempts to take Yang-jun-tan,the most typical representative of Nuo opera troupe in Meishan area with an inheritance trinity of“ancestors,Nuo Deities and Nuo artists(masters)”to conduct a detailed analysis of its three predicaments by investigating its historical origin,inheritance genealogy,the structure of the opera troupe and financial situations.It thus proposes to take Meishan Nuo Opera into a holistic protection by broadening the productive channels,improving the quality and constructing an“online+offline”display and experience platform of Meishan Nuo culture to ensure the effective inheritance and protection of Meishan Nuo Opera.