从“方相率隶”到“五鬼闹判”:傩舞的礼俗转变

From “Fangxiang Leading Servants” to “Five Ghosts Teasing Zhong Kui”: The Ritual and Custom Transformation of Nuo Dance

在中国傩舞的发展历程中,宫廷礼仪傩舞作为上层傩的代表,普遍采用了“方相率隶”的驱傩形式。“方相率隶”逐渐式微,民间傩俗取代宫廷傩礼成为傩文化主干,民间傩舞进入精彩纷呈的发展时期,形式多种多样的钟馗驱鬼成为广为接受的驱傩形式。钟馗驱鬼继承了“方相率隶”的群体驱傩形态,并且保留了装扮逐疫的实质,继承了“借神驱鬼”的心理定势。“方相率隶”和钟馗驱鬼的结构是不同的,尤其是“五鬼闹判”这类社火傩舞的出现,神鬼关系得以重构,以神驱鬼转变为神鬼和合。“方相率隶”到“五鬼闹判”的结构形式变迁,提供了一个审视礼仪傩舞转变为民俗傩舞的视角。

In the development of Nuo dance in China, the royal ritual Nuo dance as a representative of upper class Nuo, generally adopted the form of “Fangxiang leading servants”. After it gradually declined, the folk custom Nuo replaced the royal ritual Nuo to become the main branch of Nuo culture. The folk Nuo dance entered a period of exciting development, and the various forms of “Zhong Kui exorcising ghosts” became widely accepted. It inherited the group exorcism form of “Fangxiang leading servants”, and retained the essence of dressing up to prevent the epidemic, continued the mentality of “exorcising ghosts with the help of gods”. The structure of “Fangxiang leading servants” was different from “Zhong Kui exorcising ghosts”, especially with the emergence of festival Nuo dance such as the “five ghosts teasing Zhong Kui”. Thus, the relationship between gods and ghosts was restructured, and the “exorcising ghosts with the help of gods” was transformed into the unity of gods and ghosts. The structural transformation from “Fangxiang leading servants” to “five ghosts teasing Zhong Kui” provided a perspective to examine the change of ritual Nuo dance to folk Nuo dance.