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当書目の情報提供者は 李玉珉老師 です
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敦煌遺書戲劇樂舞問題補述=New Thoughts on Drama and Dance Accompanied by Music in Dunhuang Manuscripts |
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| 著者 |
黎國韜
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| 掲載誌 |
敦煌研究=Dunhuang Research
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| 巻号 | n.1 (總號=n.131) |
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| 出版年月日 | 2012.02 |
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| ページ | 86 - 94 |
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| 出版者 | 敦煌研究編輯部 |
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| 出版サイト |
http://www.dha.ac.cn/
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| 出版地 | 蘭州, 中國 [Lanzhou, China] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| キーワード | 后座; 鍾馗; 舞譜; 講經文; 俗講 |
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| 抄録 | 對敦煌遺書中的"后座"、"頭"、"了"、"鐘馗"等問題作出考析,可得出以下新的看法:其一,《宋國清破用請憑牒》提到的"后座"一詞,與唐宋樂舞、宋元戲劇、元明隊戲表演中的樂官、樂部、后行等含義相當;其二,敦煌舞譜"頭當中心"一語的"頭"字,乃指唐宋大曲隊舞中的"隊頭";其三,在"了"字提示的使用上,敦煌遺書中的俗講程儀、南宋大曲曲本、元人雜劇劇本有一脈相承的關系,均與北宋宮廷大曲用"訖"不用"了"的情況不同;其四,在敦煌儺儀中,鐘馗已取代了方相的位置,其扮演者應為樂營中善舞的樂人。
This paper presents some new ideas: First,the "back seat" in Dunhuang Manuscripts means those accompanists sitting in the back of the bank.Second,"head" in the sentence "head as the leader" in Dunhuang dance manuscripts corresponds to "dui-tou"(the first one of the team) of the grand dance show in the Tang and Song Dynasties.Third,the use of the suggestive word "liao" in Dunhuang Manuscripts is consistent with the texts of Vulgar Talk and Grand Dance Shows of the southern Song Dynasty and the Poetic Drama of the Yuan Dynasty,similar to the texts of court dance show of the northern Song dynasty,which used "qi" instead of "le." Finally,Zhong Kui in local religious ceremony at Dunhuang may be acted by a good dance musician in the music bank. |
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| ISSN | 10004106 (P) |
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| 研究年代 | 元代 |
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| 研究地域 | 甘肅(敦煌) |
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| ヒット数 | 100 |
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| 作成日 | 2016.05.12 |
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| 更新日期 | 2018.05.15 |
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