论汉代建筑明器中的乐舞百戏观演空间

Music,Dance,Acrobatics Performance Spaces in Architectural Mingqi of Han Dynasty

汉墓出土的放有表演陶俑或绘有演出画面的建筑明器,可以在一定程度上反映汉代观演空间的形貌。关于这批明器中建筑与观演空间的具体关系,学界提出了“以建筑为舞台上演乐舞百戏”和“室内厅堂上演乐舞百戏”两种重要观点。据考证,对于该明器系统而言,上述两种情况不是非此即彼的对立关系,而是并存关系;除此之外,还存在反映“庭院上演乐舞百戏”之可能。这批明器透露出,汉代不同的演出场所对建筑形制的利用可能存在程度上的差异。其中一部分已经形成有机结合关系,即可以利用建筑形制为观众或演员提供便利,对观演的相对位置和互动方式产生影响。但因这些建筑不是固定和永久的演出场所,故与后世专门的剧场尚有较大区别。

The architectural Mingqi(funeral objects)unearthed from tombs,which contain performing figurines or painted performance scenes,can to some extent reflect the features of performance spaces in the Han Dynasty.Regarding the relationship between architecture and performance space in this group of Mingqi,scholars have proposed two main viewpoints:“taking architecture as stages to perform music,dance,and acrobatics”and“performing music,dance,and acrobatics in indoor halls”.Upon examination,these two scenarios are not mutually exclusive but coexist within the Mingqi system.In addition,there is a possibility of“performing music,dance,and acrobatics in courtyards”.This group of Mingqi reveals that different performance venues in the Han Dynasty may have utilized architectural forms to varying degrees.Some of them formed an organic integration,offering convenience to audiences or performers,affecting their relative positions and modes of interaction during performances.However,since these architectures were not fixed or permanent performance venues,there are significant differences compared to the specialized theaters of later generations.