仪戏交融——西藏传统觉木隆派藏戏用乐研究

The Integration of Ritual and Theatre:A Study on the Music in Ache Lhamo of the sKyor-mo-long School

西藏传统觉木隆派藏戏表演由温巴顿(开场)、雄(正戏)、扎西(结尾)三部分组成,温巴顿和扎西具有很强的仪式性,而这两部分又与正戏并列,使觉木隆派藏戏具有仪戏交融的属性。本文的研究重点是觉木隆派藏戏音乐在仪戏交融上的体现,即音乐的仪式性与戏剧性。笔者认为,温巴顿和扎西的用乐主要体现为“因仪式定曲”,即在固定的仪式环节运用固定的唱腔,每一阶段的音乐及表演行为都有所指,有其相对应的功能和作用;正戏部分则主要体现为“因人定曲”,即音乐重在塑造人物角色和表达情感。

Ache Lhamo(Tibetan theatre)of the sKyor-mo-long school comprises three parts:rNgonpa'i'donthe opening,gzhung—the main part,and tashi-the ending.The opening and ending are highly ritualistic,juxtaposed with the formal theatre,imbuing Ache Lhamo of the sKyor-mo-long school with the attribute of integrating ritual and theatre.This paper focuses on the embodiment of Ache Lhamo music of the sKyor-mo-long School in the integration of ritual and drama.According to the author,the use of music in the opening of rNgon-pa'i'don and the ending of Tashi is primarily characterized as"setting music for ritual,"involving fixed singing in ritual links.Each stage's performance behavior and music serve specific functions and effects.The main part of the theatre is primarily embodied as"the music depends on the role,"with a focus on creating characters and expressing emotions.