论文部分内容阅读
戴上假面,人就变成了神。那是一个愤怒的眼睛挖空的将军假面。他率领着成千上万的士兵,不停地放箭,并且还“哎——、呀——”地挥动着武器,驱散恶魔。人们屏着呼吸观看这假面剧,他们的眼光期待着神将获胜,为自已祓除灾祸。 中国的老百姓中流传着一种艺术,就是驱逐恶魔的傩戏。在傩戏里,为了请神灵出场,要举行宗教性的祭祀。这可以看作是戏剧的原型。 文化大革命时期,傩戏被当作迷信,完全销声匿迹了。可是近年来陆续进行的调查表明,从西部的西藏自治区到黄土高原、云贵高原、长江中下游地区,傩戏几乎在中国各地都有分布。从民族来看,汉、壮、苗、布依、侗、彝、土家、花佬、仫佬、藏、门巴、蒙古等民族都有傩戏的传承。
Put on the mask, people become God. It was an angry face hollowing out general masks. He led tens of thousands of soldiers, kept giving arrows, and also “hey - yeah -” waved his arms to disperse the devil. People hold their breath to watch the masquerades, their eyes look forward to God will win, to remove disasters for themselves. There is a kind of art circulated among the Chinese people, that is, the exorcism of the devil. In Nuo, in order to please God appearance, to hold a religious sacrifice. This can be seen as a prototype theater. During the Cultural Revolution, Nuo opera was regarded as superstition and completely disappeared. However, surveys conducted in recent years show that Nuo opera has been distributed in almost all parts of China from the western Tibet Autonomous Region to the Loess Plateau, the Yunnan-Guizhou Plateau and the middle and lower reaches of the Yangtze River. From a national point of view, Han, Zhuang, Miao, Buyi, Dong, Yi, Tujia, Hua Fan, Gelao, Tibet, Memba, Mongolia and other ethnic groups all have Nuo opera heritage.