温州斋醮科仪论文：神圣表演.docVIP

温州斋醮科仪论文：神圣的表演 【中文摘要】本文是一份实验性田野工作的实验性音乐民族志。温州现存的道斋醮教科仪既有道教体系的共性,但又具鲜明的地方个性,包括科仪表演形式与音乐风格。笔者通过亲身充当“道士”,深度参与调查了温州市区一个道教乐班的一系列道教斋醮科仪活动,提供一份地方性知识的研究个案就非常有意义。之所以采用实验音乐民族志的写作方法,由于笔者在田野中扮演了(担任了)仪式执行人——“道士”,作了完全融入的“局内人”体验和观察；同时又作为一名民族音乐学学者,用不同于局内人的身份和视角,以完全“局外人”的身份体验了他们的体验,观察了他们的观察。不断的融入与跳出,在“双重身份”下体验,用“双视角”观察和思考此类文化现象。这是一次实践性参与的田野；又是一次学理性体验的探索。力求在完全的行为体验、整体的现象观察、给予自我文化阐释的同时,也试着来重新阐释民族音乐学(以及人类学)长期以来关注的这类理论问题。文章最后解释这些科仪稳定传承和返兴盛的本质是,信众的精神需求与道士的物质需求之间的“交换”。通过在双重性质并置的科仪空间(现实空间与虚拟空间),完成一套象征性的科仪表演,在参与的不同对象间形成“交流”,获得各自的意义解读,从而达成两种需求的交换。道士换取报酬；信众(事主)交换神圣的仪式所带来的心里上的或精神层面的“效应”。其中,音乐和舞蹈对于符号意义外化,和虚拟空间神圣性的营造,以及现实空间里纯艺术性的视听娱乐刺激,都具重要作用。最后,点明本文的题目,“神圣的表演”,即斋醮科仪不仅具有神圣性,又具有表演性(娱乐性)。 【英文摘要】This dissertation is a musical ethnography based on an experimental fieldwork. The Taoist rites Zhaijiao keyi(斋醮科仪)in the city of Wenzhou share a commonality of traits with the general Taoist system but, at the same time, display typically local features. They include the form of ritual performances and their musical style. By acting as a formal Taoist cleric (Daoshi道士),the author had the chance of a full immersion in a series of Zhaijiao keyi held by a Taoist music ensemble in the Wenzhou city. Thus, this case study provides local knowledge of great significance.The methodological choice of writing an ethnographic account was determined by the fact that during fieldwork the author assumed the role of ritual performer. This position allowed him to gain emic experience and observation. At the same time, being an ethnomusicologist, the author had also different identity and perspective, which allowed him to acquire an etic抏xperience of their experience? and an etic抩bservation of their observations? Such a method demanded a continuous switching back and forth between the identity of participant performer and that of observer and analyzer. This study can then be considered both a practical fieldwork experience, and a probe into theoretical assumptions. Its objectives were those of gaining a complete experie