摘要
"苏幕遮欧尤尼"和"巴图尔欧尤尼"原为维吾尔地区的原始民间游戏,后经丝绸之路传入中原,前者演变为汉人熟知的泼寒胡戏,后者即为唐代钵头戏,两者都是东传之西域歌舞戏中的重要代表,自传入中原后广泛流行于宫廷及民间,尤其对唐代歌舞戏的形成和发展产生了重要的影响。这两种歌舞戏一度成为中原统治者重要的娱乐活动,但是在其发源地新疆地区却来自民间,有着深厚的草原农耕文化的底蕴。
＂Sumuz Oyoui＂ and ＂ Batur Oyoni＂, which originated from primitive folk games in Uyghur regions, were introduced into Central China via the Silk Road, and the former evolves into Po-han-hu Play that is well-known among the Hans while the latter is known as Botou Play in the Tang dynasty. Both are important representatives of Music-Dance Plays of the western regions which later spread to the east. Once introduced into Central China, they became popular in the royal palace and among the civilians, and played an important role in the formation and development of Music-Dance Plays in the Tang dynasty. Though the two kinds of plays became important entertainment for rulers in Central China for a time, their cradle and origin is the Uyghur folklore with profound significance of grassland culture.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2012年第4期93-100,共8页
Drama:The Journal of the Central Academy of Drama
