神话·面具·叙事中的生命情感表达——以青海地方傩舞为例

The Expression of Life Emotions in Myth,Mask,Narration:Taking Qinghai Local Nuo Dance as an Example

因神话内容的表达与现实理解有一定的差异性,其叙事方式是需要一定程度的渲染、“翻译”与转化的,执仪人往往依托面具等“能指”的中介性来联通两者达到“神话的现实化”目的,因此关注和分析面具等“能指”成为民族音乐学研究者在破译仪式音乐文本密码的常用手法。而当我们只把目光停留在音乐仪式的整体论述表述而有目的性地只关注这些“能指”的某一方面功用时,神话面具符号在叙述表达中的中介转化功能多维性往往会表述不全。为丰富这一多维表述,本文将以“能指”的中介功能视角为核心切入点解构仪式音乐展演过程中的面具是如何将神话形象塑造、建构及讲述出来的,在青海地方傩舞的具体例证下,分析神话叙事方式的过程中强调生命情感的叙事(古)与创编(今)。以神话语境的塑造、神话叙事的建构、神话共情的营造,解析如何在神话叙事中联通古与今、对接想象与真实且兼顾生命情感表达。

Because there is a certain difference between the expression of the content of the myth and the understanding of reality,its narrative method requires a certain degree of exaggeration,“translation”and transformation.Therefore,paying attention to and analyzing“signifiers”such as masks has become a common method for ethnomusicology researchers to decipher the code of ritual music texts.And when we only focus on the overall discourse and expression of music rituals and only focus on a certain aspect of these“signifiers”purposefully,the multidimensionality of the intermediary transformation function of mythical mask symbols in narrative expression is often incompletely expressed.In order to enrich this multi-dimensional expression,this article will take the intermediary function perspective of“signifier”as the core entry point to deconstruct how the masks in the ritual music performance process shape,construct and tell the mythical image.As a specific example,the narrative(ancient)and creation(modern)of life emotions are emphasized in the process of analyzing the narrative style of mythology.Based on the shaping of the mythological context,the construction of mythological narratives,and the creation of mythological empathy,it analyzes how to connect the past and the present,connect imagination and reality,and take into account the expression of life emotions in mythological narratives.