道教文化融入香童戏之管见

On the Integration of Taoist Culture into Xiang-tong Opera

道教与香童戏同根同源,均源于古代的“巫”,道教在保山,有文献记载见于明代。时代虽晚,但道观楼阁发展很快,道教的古寺庙在明清时期犹如雨后春笋,道教迎神赛会在保山遍地开花,演变为民俗活动,香童戏受其影响,逐步接纳、吸收,自然而然。香童戏的特点是戏味浓郁,虽无面具,但戏剧表演离不开祭祀祭礼,目的不外乎是消灾除疫、祈福纳吉。整个表演能做到神人共乐,让家人和村寨化解矛盾、和顺吉祥。文章从香童戏的剧目、人物形象、科仪、民俗表演等多方面分析阐述了道教文化对香童戏这一傩戏剧种的融入与共生,揭示了道教文化对香童戏的影响及其意义。

Both Taoism and Xiang-tong Opera originated from the ancient“Wu”culture as Taoism was recorded in Baoshan area in Ming Dynasty.Although Taoism started late,its temples and pavilions were developing rapidly that sprung up in Ming and Qing Dynasties.The deity-worshipping activities blossomed all over Baoshan area that has gradually become folk activities.Under its influence,Xiang-tong opera has been gradually accepted and absorbed naturally.Xiang-tong opera is characterized with a strong flavor of drama.Although there is no mask,its performance cannot be separated from sacrificial rites.Its purpose is nothing more than to eliminate disasters and servitude and pray for good luck.The whole performance can entertain people and deities together,so that families and villages can resolve conflicts and achieve harmony and auspiciousness.This paper expounds the integration and symbiosis of Taoist culture with Xiangtong opera,a type of Nuo drama,from the aspects of its repertoire,characters,Taoist rites and folk performance to reveal the influence and significance of Taoist culture on Xiang-tong opera.