地方戲曲與宗敎之關係－以儺戲寺廟劇場為論述內容

Abstract

Relations of the religion and play is complicated and close, so called “Religion” in this paper, are Saishe(賽社, an old custom of offering worship with alcohol and food to the god of farm when farming is finished in the fall), Qunuo(驅儺, a ceremony of driving away the evils) and RuShiDao(儒釋道, Confucianism, Buddhism and Taoism) ; and so called “play”, here means any kind of art “telling a story”, including traditional “opera” which “tells a story with only dance and songs”. Ancestors’ Saishe(賽社) and Qunuo(驅儺) contain dramatic elements, and it gave birth to She play(社戲) and Nuo play(儺戲) which are called “Nuo play” in general. Even though Nuo ceremony(儺儀) is not only the sourse where play and traditional opera originated from, but we could see from pre‐Qin Nuo ceremony that Fangxiangshi(方相氏) driving‐away evil spirit ceremony and candle worship were the plays for the ancestors. Acrobatics rose in the six‐court temple theater, actually it was the cradle where plays competed each other and to be incubated in. In Tang Dynasty it developed even more into a good spectacle; and still now in temples there were carnivals of celebration all over the country, and in the temple squares, all kinds of plays, acrobatics and local operas are being performed now and then. The contents of the plays are to call in the gods, driving away evil spirits and diseases, to repel evils and misfortune, and to pray for luck and good fortune, the play sometimes praises the god that they are calling in, sometimes the play is about the gods and the evils, or tells a history and at times it is a folk customs play. Mulian opera(目連戲) mixed religion, customs, acrobatics and opera together, after a long development, it shows a clear tendency of getting close to Nuo play. From the relations between temple theater and opera & acrobatics, it was found that plays are to worship gods and to ask for good fortune, so stages are equipped in the temples and temple squares are places where all kinds of plays get together, and it has become a deep‐rooted culture with a long history of our nation. Temple theaters are places for plays to compete each other, and also an incubator where plays could interact with each other and where culture to be developed in. However, acrobatics and the plays are not to entertain the gods but the people. And the contents and style of Nuo play shows that performance and ceremony go together, and also it shows the traditional culture of our nation that properties go with the joy and wine offering goes with the joy.