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在我国各民族泛神意识文化语境中,神祇作为民族文化生境的产物,对地方戏曲的影响尤为明显。神祇借助地方戏曲传递方式的多样性和广泛性特征,通过舞台艺术深入受众精神领域,成为民族文化事象的普遍现象。对这些事象的认识,实地调查加以文献梳理是直接有效步径。文章认为神祇在地方戏曲中最为显著的观照有三方面:1.民族伦理功能,神祇以善恶尺度权判者参与到民族现实生活和文化事象中,产生出民族伦理的善恶“规约”意义,地方戏曲对此起到一定扬抑作用。2.社会教化功能,“忠义”、“孝悌”等题材在地方戏曲中的神化以及渲染,客观上使观众和演员受到不同程度的教育,广泛而言,地方戏曲对民族道德的传播产生相关作用;3.生态文明功能,将神祇赋于自然事物(风雨雷电、动物植物等)是我国民族宗教习俗泛神观的特色,人们通过地方戏曲叙事方法以表述对自然生态的敬仰。
In the context of the psychedelic cultures of all ethnic groups in our country, the influence of God as a product of national cultural habitat on local opera is particularly evident. With the diversity and extensive features of local opera delivery, God has become a common phenomenon of national culture through the stage art deepening the field of audience spirit. It is a direct and effective way to get an understanding of these things and to conduct a field survey. The article holds that there are three aspects of the most notable observation of God in local operas: 1. The ethical function of the nation, in which the judgments of the righteousness and evil participate in the national real life and cultural events, resulting in the good and evil of the ethics of the nation. Meaning, local opera play a certain role in this. 2. The deification and rendering of themes such as social enlightenment, loyalty, filial piety and the like in local operas have objectively exposed the audience and actors to different levels of education. Broadly speaking, The function of ecological civilization, God only endowed with natural things (thunder and lightning, animal plants, etc.) is a feature of the pan-god view of our national religious practices, people through the local opera narrative method to express their admiration of the natural ecology.