图书
登录
注册
- 内容简介
- 书籍目录
- 作者简介
- 参考文献
Since the mid-80s of the 20th century Chinese mainland set off a puppet research fever, and more than 30 years have passed in the blink of an eye. I remember that in the summer of 1988, the "Seminar on the Origin of Chinese Theater" was held in Urumqi. At the meeting, Mr. Qu Liuyi emphasized the role of puppet opera in the origin of theater, but my paper said that Malinowski's "assertion" that theater originated in religious rituals met with an "exception" in China. In retrospect, it was really fearless for the ignorant. Since then, my academic concept has undergone a great change, perhaps reflecting the progress of Chinese theater research in the past 30 years. The research results of more than 30 years of puppet opera are remarkable and obvious to all, and there is no doubt about it. However, it is also the consensus that the research of puppet drama has encountered a bottleneck that is difficult to solve. Some of the drawbacks brought out by the "puppet research fever" once cited in his book "The Origin of Puppet Art" have not been well solved so far. I remember attending a seminar a few years ago, and an elderly local scholar asked me: "Our Yang opera here is obviously dressed up by people, why do you say that Yang opera was originally a puppet opera?" I smiled wryly. It is a fact that Guizhou's Yang opera was played by people, but it is also a fact that Yang opera was a puppet opera in Jiangxi in the Ming Dynasty, and the Yang opera with puppets on the same stage is still preserved in northern Sichuan. It is very likely that in the process of moving west, the shape of Yang Opera has also changed. Of course, this requires in-depth research and evidence to illustrate. What I want to say is that the narrow perception of "seeing the trees but not the forest" generated by simple case studies is likely to obscure things as they are. In addition, with the "puppet research fever" produced by the "puppet opera research fever", the "pan-puppet theory" and "puppet culture" formulation, as well as the statement that puppet opera is a "living fossil" of drama, have also promoted the study of puppet opera, but also produced some negative effects. What is the essence of "傩"? How to break through the threshold and limitations of "pan-puppet"? Is the puppet and the puppet opera a "living fossil" of Chinese drama? How to carry out theoretical induction on the basis of materials? These are all urgent problems to be solved. Therefore, when I saw the manuscript of Dequan's "Research on Duangong Culture in Southwest China", my joy was indescribable. It can be said that this book has made new breakthroughs in concepts, visions, and research methods, and its biggest feature is to build a theoretical highland on the basis of a large number of reliable materials. Dequan consulted nearly 100 kinds of Fangzhi and customs records in the libraries of Sun Yat-sen University, Guizhou Minzu University and other units, as well as the "China Fangzhi Library" (electronic resource). In addition, he also extensively collected some genealogies and genealogies collected by Duan Gong's personal (mainly altar masters), the "List of Past Teachers" that records the relationship between the altar class and teachers, scientific ritual books and performance script materials that have not been published, as well as some documents, scriptures, curses, talismans, interview materials, field pictures and other materials closely related to Duan Gong's behavior. More importantly, Dequan declared: "This study does not intend to adopt the research paradigm of the so-called 'materiality view' to support the 'theoretical hypothesis', but to dominate the complex material with 'problem awareness'." "I think Dequan's footing is correct. This book addresses at least the following questions. Firstly, this paper breaks through the regional shackles of previous puppet opera research, and discusses the existence mode of Duangong culture and its social and cultural significance in southwest China from a comprehensive academic perspective. In the past, Duan Gong opera was mostly regarded as a kind of "Wu opera", but Dequan believed that the essence of Duan Gong culture was Wu culture, and its scope was far greater than the so-called "Duan Gong culture": "Duan Gong is actually integrated into the Duan Gong culture system, and its structure, form, spirit, and meaning are unified under the will of Duan Gong (Wu), so the so-called 'Fu culture' is actually contained in Duan Gong culture." This theoretically subverts the "pan-puppet theory", and many of the various forms of so-called "puppet" in the past are actually not puppets, but should belong to Duangong culture; The so-called "puppet play" basically belongs to Duangong opera and witch opera. Perhaps the fact that Wu belonged to Wu was not the first thing Dequan realized, nor was it the first time he raised it. However, because he had a strong sense of "problem" and carefully compared the so-called "Fu culture" with the Duangong culture in terms of meaning and form, he came to a convincing conclusion. This is enough to remind the "pan-theorist" that the old formulation should not be used in the future, so as not to confuse the public. Of course, behind the concepts, terms, and categories, there are some theories and concepts that are supported. Dequan's research is exactly that. However, I vaguely feel that Dequan seems to think that Wu and Wu were combined later. In fact, 傩 has been part of the witch from the beginning. On this point, I generally obey Wang Guowei's opinion. The first chapter of the "History of Song and Yuan Opera" begins by saying: "The prosperity of song and dance began in ancient Wuhu? Among the examples given next, there is "Fang Xiang's exorcism". Obviously, the "Fang Xiang Clan" is filled by wizards. This view is for Dequan's reference. Secondly, Dequan pointed out that the Duangong culture has a migration route from east to west geographically; Duan Gong's legal affairs and technical behavior have a process of "localization" and "adjustment" and even compromise in the southwest region. This breaks through the previous thinking of primitive and solidifying the local "puppet play", and also breaks through the drawback of "only seeing the trees but not the forest" in the case study. De Quanxian pointed out that "the Duan Gong legal activities in the Zhaotong area are not indigenous folk customs, but were influxed from Jiangxi, Sichuan, Huguang and other provinces with Han immigrants, and originated in the Ming Dynasty and flourished in the middle and late Qing Dynasty and the Republic of China. The time and place of this inflow basically coincide with the background of the history of migration in the southwest. As we all know, the people have always said that "the lake fills Sichuan". Dequan pointed out that this is not only an oral legend, but also supported by a large number of Han genealogies and other documents in the southwest region. In this way, some hometown-based researchers believe that the local "傩" is the oldest and can be inherited from the era of the "Zhou Li", and it is self-defeating. At the same time, as a cultural form, Duangong culture will never remain unchanged in the process of moving west. In other words, Duangong culture is dynamic rather than static. Dequan pointed out that Duangong, as the holder of a "strong culture", in the process of gradually "localizing", with the help of his concepts and beliefs, changed and re-edited the original audio of the sacrifices of gods and spirits of the indigenous peoples of southwest China, and finally completed the symbolic transformation of "due to soil and customs". Following this clue, Dequan further analyzed the cultural structure of "Daowu", pointing out that "Duangong not only maintained his identity with Taoist culture through the worship of Taoist deities and the use of Taoist rituals and magic, but also formed an alliance with folk beliefs with an open divine system and altar, and thus reflected the true color of 'people's Taoism'". This conclusion is also universal, and the entangled relationship between the so-called Tao and the "puppet" in the past is clarified. Thirdly, and particularly commendable, Dequan pointed out: "From a simple exorcism ceremony in ancient times, to the exorcism ceremony with theatrical performance elements in the Song Dynasty, to the 'ghost exorcism play' (exorcism + wish return + puppet play) presided over by Duan Gong in today's southwest region." And this historical evolution process itself also raises fundamental questions about the view of 'living fossils'. Indeed, drama (and Chinese drama is no exception) is derived from religious rituals. However, the mature drama style represented by opera is not directly born out of religious ceremonies. Therefore, there is no basis for thinking that the puppet or puppet play is a "living fossil" of drama. The idea of "living fossils" is very easy to criticize, and a young scholar wrote a few years ago: "We cannot assume that from the crazy dance of the wizard god, an elegant and dignified Mei Lanfang can be produced." This view, if only in response to the theory of "living fossils", is not unreasonable. The peculiarity of Chinese culture lies in the fact that Confucian culture has prematurely become the official ideology, thus rejecting the existence of various "strange forces and chaotic gods". Therefore, when witches are no longer fully trusted, the excellent and excellent dramas that evolved from witchcraft and witchcraft have always been difficult to enter the hall of elegance. As a result, a foreign religion, Buddhism, took advantage of the void and produced secular teachings in order to preach teachings. Colloquial speech is to use popular rap to preach the scriptures, and the variations that have survived to this day are the basis of popular speech. This form greatly influenced the tunes of the palaces, and the singing of the tunes of the palaces is the mother body of the metadrama. Therefore, I believe that Chinese drama is divided into two forms of "Ming River" and "Undercurrent", which have interacted but are relatively independent of each other, and develop separately. Dequan views "Duan Gong Opera" as an independent and comfortable acting system, which shows that he agrees with my above view. Happily, another of my students, Dr. Liu Huaitang, recently showed me a manuscript of a book that emphasized the development of sacrificial drama and ornamental drama. Others, however, either deny that drama originated from religious rituals or associate metadrama directly with religious rituals. Both views are one-sided. Dequan pointed out that "the various forms of drama derived from the Duangong sacrifice activities are all performed and created by Duangong, and they also have commonality in the structure of the drama, so they can all be included in the 'Duangong Opera' system, and the detailed differences between them just characterize the 'declension' of the form of 'Duangong Opera' (a systematic concept) in different regions and different ethnic groups." In this way, the sacrificial drama that used to be called "puppet opera" was sorted out and incorporated into the system of "duan gong opera". Although this book focuses on theoretical construction, due to the comprehensive grasp of materials, there are also many new discoveries at the microscopic level. I believe that readers must be interested, so I will not rap here. Finally, the way this book is written is also very characteristic - the footnotes are very long. Due to the strong theoretical color of the article, sometimes in order to elaborate the central thesis, in order to avoid branches, some materials and introductory and informative words are put into footnotes. For example, different interpretations of "Tima", the introduction of the rituals of "Hemeishan", the rituals of "Falling Treasure Mountain", and the complete content of "Shangyuan Hehui" are all described in footnotes, sometimes with a single note of more than 1,000 words. This kind of writing has been used by some scholars of the older generation, and the papers of Hong Kong and Taiwan scholars are also more common, but the papers of mainland scholars, especially young scholars, are relatively rare. I think this is a good practice and worth recommending. I recall that when Dequan was studying for a PhD at Sun Yat-sen University, he once served as the main speaker on the topic of "Yuan Miscellaneous Opera". I am worried that this young man from Guizhou is familiar with "傩", and is relatively unfamiliar with metadramas. But after listening to his passionate narration, I know that he has actually worked the history of theater. There is a fairly good foundation for whether the "Ming River" or the "undercurrent" is. However, Dequan is from Guizhou, and I still encouraged him to choose the topic of "Qi" when choosing the topic of his dissertation. Under my "misdirection", his topic selection at that time was too large and difficult to control, and he was ruthlessly "killed" when opening the topic. However, he was not discouraged, but synthesized the opinions of the teachers, took the more specific "Southwest Duan Public Culture" as the topic, and won the unanimous approval and praise of the teachers when defending the thesis. This book was processed and revised on the basis of his doctoral dissertation. Later, when I learned that Dequan was going to Shanghai Jiao Tong University to engage in postdoctoral research in the field of cultural industry, I felt a sense of loss and regret. Now Dequan continues to engage in cultural industry research at Guizhou Minda after leaving the country, but I still hope that he will pay more attention to drama and theater history. Dequan asked me the preface on the occasion of the publication of his magnum opus, and hastily wrote the above words for the preface. Kang Baocheng at his apartment in Zhuhai on September 28, 2017（AI翻译）
