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当前学界对唐代百戏界定不清,各家之说多有差异,对其进行清晰界定不仅有利于加深了解唐代杂技、戏剧、体育、乐舞等艺术形式的存在状态,也是相关唐文学研究得以顺利开展的前提条件和必备基础。据相关文献记载可知,唐代百戏依然具有唐前百戏通俗娱乐表演的基本性质,同时继承了奇异技能、滑稽嘲谑、武力对抗等三大表演范式,这不仅是唐人百戏观的体现,也为今日界定唐代百戏提供了标准和依据。据此可以得出结论:在唐代,百戏依然是涵盖“俳优歌舞杂奏”的十分宽泛的概念,虽其旗下的杂技、幻术、戏剧、体育等各艺术门类较前代都有显著发展,但仍未达到可以独立存在、自成一家的成熟境地。
The current academic circles do not define the “100 plays” in the Tang Dynasty, and there are many differences between the various plays. It is not only conducive to deepening the understanding of the existing state of art forms such as acrobatics, drama, sports, music and dance in the Tang Dynasty, but also related to Tang literature The preconditions and prerequisites for smooth development. According to the relevant literature, we can see that the Tang Dynasty 100 plays still have the basic properties of the popular entertainment before the Tang Dynasty drama, while inheriting the three performance paradigm of singular skills, funny ridicule, the force of confrontation, which is not only the manifestation of Tang opera, It also provides a standard and basis for defining the 100 plays in the Tang Dynasty today. Based on this, we can conclude that in the Tang Dynasty, the hundred plays were still a very broad concept covering the “beautiful songs and dances”, although all the art categories such as acrobatics, illusion, drama and sports all had However, it has not yet reached a mature status that can exist independently and become a family.