苗族巴岱蚩尤戏的文化原境考察:一种文化人类学的湘西文本

AN INVESTIGATION OF THE CULTURAL ORIGINALITY OF MIAO BADAI CHIYOU OPERA:A Kind of Western Hunan Text of Cultural Anthropology

蚩尤戏是流行于湘西腊尔山苗族地区的一个地方剧种,是苗族民间巴岱宗教祭祀活动中形成的以扮演蚩尤为主兼以捉鬼娱乐的戏剧形式。巴岱扮演蚩尤被视为一种神圣的行为,为了取悦神灵(蚩尤),巴岱经常在一些宗教仪式中狂歌乱舞,凭借动作、语言、歌唱、道具、声响虚拟出舞台情境。蚩尤被看成是苗族人的保护神,巴岱运用神歌、巫舞、祭词、法术与其交流,所设计的转换空间满足了苗族人与蚩尤通灵、互动共乐的愿望。巴岱蚩尤戏具有一定的文化价值,因为它反映了腊尔山地区苗族民众的精神信仰,而且集中表现了苗族群众劳动生产、民俗生活与禁忌等多方面内容,为我们研究地方戏曲的早期形态提供了具体参照。

Chiyou opera is a local opera popular in the Miao Nationality area of Lar mountain in Xiangxi Province. It is an opera form formed in the religious sacrificial activities of Badai from the Miao Nationality,which mainly plays Chiyou and his ghost-hunting entertainment. It was regarded as a sacred act for Badai to play Chiyou. In order to please the god(Chiyou),Badai often sing and dance wildly in some religious rituals,virtually stage the scene by using action,language,singing, props and sound. Chiyou is regarded as the protection god of Miao people, and Badai used hymns,witch dance,sacrificial words and spells to communicate with him. The designed conversion space satisfies the desire of the Miao people to interact with Chiyou. Badai Chiyou opera has certain cultural value,because it reflects the spiritual belief of Miao people in the Lar mountain area,and focuses on the Miao people’s labor production,folklife and taboos,providing a specific reference for us to study the early form of local opera.