中国古代宫廷百戏展演的符号交流功能探究

Communicative Functions of“Baixi”in Chinese Ancient Courts

百戏源自先秦,到秦汉发展成熟,于隋唐时重新兴盛,后又不断发展。一般认为,百戏是一种为观者助兴的单纯的娱乐演出活动。但事实上,如果将百戏展演的过程作为整体的符号看待,除娱乐功能之外,百戏还具有重要的交流功能。作为对于共同音乐文化背景要求最低的音乐演出,在朝会宴、酺宴与宴外蕃三种典型的宴会场合当中,在君臣之间、君民之间以及不同的文化集团之间,传递着不同的意义。

“Baixi”has been continuously developingsince before the Qin dynasty,asit was mature in the Qin and Han dynasties and was revived in the Sui and Tang dynasties.Baixi is simply acknowledged as a performance to entertain an audience.However,if we regard the progress of Baixi performance as a sign,it also possesses multiple communicative functions.As a music performance that requires the least common music and cultural background,the meanings conveyed by Baixi differed between the monarch and his subjects,between the monarch and his people,and between various cultural groups in the banquet of the Chao-hui,Pu-yan and diplomatic settings.