从“缺位”到“共生”:侗族大歌舞台化的主体性困境与突破

From“Absence”to“Symbiosis”:The Dilemma and Breakthrough of Subjectivity in Staging of Dong Chorus

侗族大歌舞台展演作为当代传播的主要形式之一,是现代性语境中文化商品的“脱域化”呈现。消费逻辑支配下的侗族大歌舞台实践采用剪切、拼接和复制的手法重构表演文本,往往因“民间主体缺位”而沦为符号化商品的客体。当地政府人员和本土“学者”进行“包装”和“建构”的舞台表演文本难免遭遇真实性受到质疑、价值性被遮蔽和舞台化表演“同一性”问题的主体性困境。其突破路径有三:一是明确实践中各主体的主体性定位,二是重塑民间主体性地位,三是构筑“与他者共生”的命运共同体。

As one of the main forms of contemporary communication,the performance of the Dong Chorus stage is a“de-domesticated”presentation of cultural commodities in the context of modernity.Under the domination of the logic of consumption,the practice of Dong Chorus stage performance adopts the techniques of cutting,splicing and copying to reconstruct the performance text,which is often reduced to the object of symbolic commodities due to the“absence of the folk subject”.The stage performance texts“packaged”and“constructed”by local government personnel and local“scholars”inevitably encounter questions about authenticity,obscured values,and staged performances.The subjective dilemma of the“sameness”problem.There are three methods to breakout this dilemma:one is to reflect on the cultural concepts and roles of the subjects in stage practice;the other is to reshape the status of folk subjectivity;and the third is to construct a community of destiny that“coexists with the other”.