论文部分内容阅读
本文以阈限理论为基本视角,考察山东鼓子秧歌中的结构与反结构关系,通过对鼓子秧歌中组织结构、活动程序、表演场图、角色装扮及动态等方面的分析,认为它们都表现出以“礼”为核心的结构特征;其后,对春节作为阈限期对鼓子秧歌表演的影响及丑角角色进行讨论,认为鼓子秧歌也具有“闹”的反结构特征。据此认为,鼓子秧歌是主流意识形态所推崇的“礼”与下层民众所追求的“闹”的辩证统一形式。相对于以“礼”为代表的官方意识形态,“闹”尽管展现出下层民众鲜活的生命力,但实力毕竟太过弱小,能渗入的范围太过狭窄,最终被整合到高度结构化的鼓子秧歌仪式中,成为普通民众集体宣泄日常生活中积压的负面情绪的精神阀门,最终被转化为巩固既有社会秩序结构的隐秘形式。
Based on the threshold theory, this paper examines the relationship between structure and anti-structure in Drum Yangko of Shandong. Based on the analysis of the organizational structure, activity program, performance field, character dress and dynamics in Drum Yangko, After that, it discusses the impact of the Spring Festival as the threshold period on the performance of the drum-yangko and the role of the harlequin, and holds that the drum-yangko also has the anti-structural feature of “trouble” . Therefore, it is considered that Yangko is a dialectical and unified form of “Rite ” advocated by the mainstream ideology and “trouble ” pursued by the lower people. Compared with the official ideology represented by “Ceremony ”, “” “trouble ” although showing the vitality of the lower people’s livelihood, but the strength is too weak, the infiltration of the scope is too narrow and eventually be integrated into the height In the structured drum-dancing Yangko ceremony, it became a spiritual valve for the common people to collectively release the backlog of negative emotions in daily life and was eventually transformed into a covert form of consolidating the existing social order structure.