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作为民众日常生活中模式化的民俗文化,庙会上的曲艺活动一直以来并未得到学界的热切关注,虽然有些研究涉及到民间曲艺,但多数是从艺术学、戏剧学和文学角度将民间曲艺抽离出其生存的土壤,进行纯艺术或纯文学上的结构功能探讨,对于庙会上曲艺活动的生活性本质的关注则不是特别多。民间曲艺的生存土壤是民众生活,所以生活性是民间曲艺活动的本质属性。我们只有在深入民众的村落生活中,通过感受民众对与生活文化的感受才能实现对民间曲艺生活性本质的理解。民众基于不同的生活实践和生活感受,将庙会献戏活动赋予不同的意义,这些意义恰是民间曲艺“存在”的立足之本。
As a model of folk custom in daily life, folk art activities at the temple fair have never been paid much attention by the academic circles. Although some researches involve folk folk art, most of them focus on folk art from the aspects of art, drama and literature Out of its living soil, purely artistic or purely literary structure and function of the temple for the activities of the nature of life is not particularly concerned about the nature. Folk song folk art is the living soil, so life is the essence of folk art activities. Only when we deeply understand the life of the people in the village can we realize the understanding of the nature of the life of the folk art through the feelings of the people and the culture of life. People based on different life practices and feelings of life, the activities of the temple show giving different meaning, these meanings are just folk music “existence ” based on this.