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闽南地方戏曲在“公共观演场域”传播的百年历程,同时也是中华戏曲在跨文化交往情境中,超越古典性获取现代性并最终向后现代性过渡的历史。前现代农耕社会的闽南戏曲,其观演活动不仅映射草根阶层的审美旨趣,而且承载传统观念与民间诉求的分殊离合。现代闽南戏曲逐渐疏离迎神赛会的传统功能,既积极参与现代民族共同体的想象而与社会现代性相关联,又注重休闲娱乐而与感性现代性相契合。在当代消费文化语境中,闽南戏曲渐次轻视确定剧本而注重表演仪式,着意挪用各式剧种的题材手法,体现出游戏性、狂欢化等后现代特征,从而开拓新的公共观演空间。
The centuries-old history of Minnan local opera spreading in the “public performance field” is also the history of Chinese opera transiting the classical acquisition of modernity and finally the post-modernity in the context of intercultural communication. Minnan opera in pre-modern farming society not only reflects the aesthetic taste of the grassroots, but also inherits the differences between traditional concepts and civil appeal. Modern Minnan drama gradually alienated from the traditional function of the God-Invincible Games. It not only actively involved in the imagination of the modern national community but also linked with the social modernity, and paid more attention to recreation and entertainment to fit the modernity of sensibility. In the context of contemporary consumer culture, Minnan drama gradually underestimates the script and focuses on performing rituals. It deliberately misappropriates the themes and techniques of various operas, embodies postmodern features such as gameplay and carnivalesia, and opens up new space for public viewing.