摘要
西藏传统觉木隆派藏戏表演由温巴顿(开场)、雄(正戏)、扎西(结尾)三部分组成,温巴顿和扎西具有很强的仪式性,而这两部分又与正戏并列,使觉木隆派藏戏具有仪戏交融的属性。本文的研究重点是觉木隆派藏戏音乐在仪戏交融上的体现,即音乐的仪式性与戏剧性。笔者认为,温巴顿和扎西的用乐主要体现为“因仪式定曲”,即在固定的仪式环节运用固定的唱腔,每一阶段的音乐及表演行为都有所指,有其相对应的功能和作用;正戏部分则主要体现为“因人定曲”,即音乐重在塑造人物角色和表达情感。
Ache Lhamo(Tibetan theatre)of the sKyor-mo-long school comprises three parts:rNgonpa'i'donthe opening,gzhung—the main part,and tashi-the ending.The opening and ending are highly ritualistic,juxtaposed with the formal theatre,imbuing Ache Lhamo of the sKyor-mo-long school with the attribute of integrating ritual and theatre.This paper focuses on the embodiment of Ache Lhamo music of the sKyor-mo-long School in the integration of ritual and drama.According to the author,the use of music in the opening of rNgon-pa'i'don and the ending of Tashi is primarily characterized as"setting music for ritual,"involving fixed singing in ritual links.Each stage's performance behavior and music serve specific functions and effects.The main part of the theatre is primarily embodied as"the music depends on the role,"with a focus on creating characters and expressing emotions.
出处
《中国音乐》
CSSCI
北大核心
2024年第2期116-130,共15页
Chinese Music
基金
2019年度西藏民族大学“重大项目培育”资助项目“藏戏的形成与传承研究”(项目编号:19MDZ11)
2021年度国家社科基金艺术学重大项目“中国少数民族器乐艺术研究”之子课题《中国少数民族器乐史》(项目编号:21ZD20)的阶段成果。
关键词
觉木隆派藏戏
仪戏交融
音乐布局
用乐规则
Ache Lhamo of the sKyor-mo-long school
The Integration of Ritual and Theatre
Music Layout
Music Rules
