日本传统戏剧家元制发展研究

Studies on IEMOTO System in Traditional Japanese Theater

家元制度是日本的传统艺能与行业的一种传承方式,其特征是基于血缘和艺脉的物质与精神成果传承,也常用来指这种传承系统中处于最顶端的掌门人[1]。能乐、文乐和歌舞伎都是以家元形式组织、流传下来的艺术。家元制对于日本传统戏剧的意义是决定性的,它构建了整个传统戏剧传承发展的生态系统,其中最重要的就是人才的培养环节。现代日本传统戏剧的人才培养以家元制为主,以国立养成所为辅,共同培养传统戏剧中所需的各门类人才,但是这种官方的培养方式与传统的家元传承制度之间,仍存在一些不可弥合的矛盾,导致人才的产出,还不能完全解决传艺中所面临着的一些现实问题。研究日本家元人才培养方式,可以与中国传统戏曲的古典精神和人才培养相映成趣,互相启发。

IEMOTO System is a kind of hereditary way of skills and art, which has the characteristics of inheriting material and spirit achievement through consanguinity and artistic sect. This term also used to refer to the top chief of our group. Noh, Bunraku and Kabuki have been organized and inherited by IEMOTO System. The significance of IEMOTO System for Japanese traditional drama even is decisive. It builds the ecosystem of whole traditional theater, in which the most important point is to educate the talents. The talents education of Japanese traditional drama nowadays is based on the IEMOTO System mainly, with the state-maintained institution as a supplement. However, there are still some irreversible contradictions between this mode and the IEMOTO System, which leads to that the talent output cannot solve the pragmatical problems in the inheritance of arts. To know and understand the IEMOTO System of contemporary Japanese traditional drama talent education is not only a step to understand the Japanese drama itself, but also a key factor for to inspire the training of Chinese talents and inherit Chinese traditional drama.