陇南白马藏族傩舞戏源流及其层累现象

摘要

When studying the origin and evolution of Baima Tibetan＇s exorcism dance-dramas,we can find several distinct stages of development.The very first stage is called ＂chige-zhou＂,in which the mask of exorcism is modeled after the Trinocular God.＂Ma-zhou＂ uses twelve animals to exorcise devils with the worship of tribal gods as the premise,which has gradually turned into a folk activity for amusement.Based on the previous two stages,other kinds of exorcism dance-dramas are created,including ＂aligai-zhou＂,＂gan-zhou＂,＂chimuganmian＂ and so on.These stages of development,while displaying local cultural characteristics and significance,show a relatively obvious conflict between the integrity of exorcism culture and scattered ways of inheritance.Furthermore,this paper points out that the origin of exorcism dance-dramas in the region has a close relationship with the living environment and life-styles of local residents in terms of the national lineage of experience.%考察陇南白马藏族傩舞戏发展演进的源流进程,可以发现显明的层累现象：处于其傩舞戏源头的＂池哥昼＂,最有价值的是其傩面具的三目神造型,＂麻昼＂以本部族神崇拜为前提,以十二种动物来发挥驱疫逐魔的功能,渐蜕为一种娱人为主的民俗活动;在两者基础上,陆续层累演化出了处于中流、末流阶段的其他傩舞戏样式,如＂阿里该昼＂、＂甘昼＂、＂池母擀面＂、＂杀野猪＂、＂秋昼＂、＂嘛勾池＂、＂秦州客＂、＂拐格达＂等。这种层累现象,在展现其自身文化特色和蕴含的同时,也显示了傩文化的整体性与传承的零散性之间的明显矛盾,又说明了傩舞戏源流与他们的生活环境、生活方式在民族传承的经验方面有着密切关系。