摘要
《目连救母》的故事文本在传播过程中,迅速与各地的思想文化、民风民俗相结合,成为在祭祀环境下风格各异的本土文化结晶。现存于河南省濮阳市南乐县的《目连救母》戏剧演出,当地人俗称“玩鬼”,在已知的二百多年的演出历史中,所呈现出来的面貌与作为祭祀戏剧类别下的目连戏剧演出多有不同。尤其是在不同的发展阶段,由于演出的生态环境发生变化,使其呈现出新的演出形态。
During the spreading process,the story of Maudgalyayana’s Rescue of His Mother from Hell(Mulian-jiu-mu)quickly integrated the ideology,culture and folk customs of different regions and became the crystallization of local culture with distinct styles in context of sacrifice.The drama performance of Maudgalyayana’s Rescue of His Mother from Hell,which exists at Nanle County in Puyang city of Henan province,is commonly called“playing with ghosts”has acquired quite different forms from those in the sacrificial drama in the evolution history of more than 200 years.In particular,due to changes in the ecological environments of the performance in different development stages,new performance forms emerge as a result.
作者
范静
FAN Jing(Xueyuan Press,Beijing 100071)
出处
《贵州大学学报（艺术版）》
2020年第6期41-46,共6页
Journal of Guizhou University Art Edition
关键词
南乐目连戏
实践主体
场域
Maudgalyayana Opera(Mulian-xi)in Nanle county
practice subject
field
