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題 名 | 文化真實與展演 : 賽夏、排灣經驗=Cultural Reality and Performance: Saisiat and Paiwan Experiences |
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作 者 | 胡台麗; | 書刊名 | 中央研究院民族學研究所集刊 |
卷 期 | 84 1997.秋[民86.秋] |
頁 次 | 頁61-86 |
分類號 | 536.33 |
關鍵詞 | 展演; 文化真實; 賽夏; 排灣; 框架; Performance; Cultural reality; Saisiat; Paiwan; Frame; |
語 文 | 中文(Chinese) |
中文摘要 | 本文分為三部份,凡七節,以新近出土、前所未聞的「神烏傅」為探討基點,從 事必要的溯源辨流之作。 第一節解析賦文主旨及其性質;第二詰責字兩漢詩、賦中「鳥」的各種寓意,品量該賦 的藝術成就。 第三、四節則根據「神烏」批露的線索,結合有關材料,研覈「不歌而誦」的真恉,揭 示:賦本為一重聲口變化,輔以手勢、表情、間夾歌唱的表演藝術,並非至於案頭、工人目 閱的對象。 由於學人每持「神烏」與敦煌「鷰子」並論,本文最後三節乃爬梳中國中古時期有關作 品,經由作品結構、演出類別等比對,指出:「神烏」去「鷰子」頗有問題,「神烏」為俗賦 之說由待仔細斟酌;間亦略及敦煌講唱底本研究中的一二問題。 過程。作者認為如果僅將實際生活中的儀式以「展演」概念 作過於浮泛的類比分析, 極可能將該社會對「真實」與「展演」的看法掩蓋了,以至於無法 發現不同文化所呈現的不同的「文化真實」。由於「原舞者」展演事件包含實質的舞臺化「 展演」,而不僅是類比的展演,所以能夠清楚的看出「真實」與「展演」的框限範圍,讓「展 演」研究往前推進,觸及文化的認知體系。 |
英文摘要 | This paper consists of seven paragraphs, which can be grouped into three categories, to study the newly unearthed rhapsody, "Magic Crows (Shen-wu神烏)", and its literary implications. At first, we try to explore the tragic topic of "Magic Crows" and one of its literary achievements that seven symbolic usages of birds as revealed in other verses of the Han Dynasty coexisted in this piece of work. Next, we will suggest the original characters of the rhapsody, a composition not for reading but for performing, by a totally new perspective of the related historical data in the light of "Magic Crows". Finally, the alleged kinship between "Magic Crows" and "The Swallow (Yen-tzu 鷰子)" discovered in Tun-huan is questioned on the basis of some observations on the constructive and performing difference among the performing arts. and performance as well as between insider and outsider. The experience with the Paiwan was that of "cultural reality of segregation." In this instance, boundaries between reality and performance as well as insider and outsider were kept clear-cut. This article is concerned with real-life as well as on-stage ceremonial song and dance performances and how the former transform into the later. The author feels that if we only analyze the rituals in real life with the analogy of "performances", it is quite possible that the distinction between "reality" and "performance" of this particular society is covered. Since the events of performances initiated by the Taiwan Aboriginal Singing and Dancing Troupe include both real-life ceremonies as well as on-stage re-enactments, the respective "frames" of these respective performances are each identifiable and thus comparable in such a way so as to move forward to include the study of the cultural system of cognition. |
本系統中英文摘要資訊取自各篇刊載內容。