对贵州民族戏曲振兴的思考

Thoughts on the Revitalization of Guizhou National Opera

贵州民族戏曲作为一种草根文化,有着自己独特和悠久的历史。自先秦以来尤其是唐宋时期,中原民间戏曲以及军傩、军戏被不断引入西南边陲的今贵州领地,也相继植根于这片土地。在这片土地世居的各个少数民族传统的图腾崇拜与祭祀文化拥抱着这些外乡文化,在包容与借鉴中发展了本土的傩戏、地戏、阳戏、花灯戏、侗戏、布依戏、文琴戏等,为丰富乡村民众的文化生活,维系乡村秩序发挥了不可替代的作用。一段时期以来,在商品经济的挤压下,不少民族戏曲不景气甚至处于濒危状态。党的十八大以后,党中央发出了"实施地方戏曲振兴计划"的号召,有力地推进贵州民族戏曲的繁荣兴盛,为乡村振兴提供了有力的支撑。

As a grassroots culture, Guizhou national opera has its own unique and long history. Since the early of Qin Dynasty, especially in the Tang and Song Dynasties, the folk operas of the Central Plains, as well as the Military Nuo and Military Opera, have been introduced into the present Guizhou in the southwestern border area, and have been rooted in to this land. The traditional totem and sacrificial culture of the various local minorities living in this land embraced these foreign cultures. The local Nuo Opera, the Dixi Opera, the Yang Opera, the Festival Lantern Opera, the Tong Opera, the Bouyei Opera and the Wenqin Opera had been developed during the inclusion and reference. It plays an irreplaceable role in enriching the cultural life of the rural people and maintaining the order of the countryside. Since a long term, many national operas were in a depression and even in an endangered situation under the squeezing of the commodity economy.After the 18 th National Congress, the Party Central Committee issued a call to implement the Local Opera Revitalization Plan, which will vigorously promote prosperity of Guizhou national operas. And it will also provide strong support to the excellent traditional culture of rural revitalization.