麻国钧 中央戏剧学院
Ma, Guojun, The Central Academy of Drama
原文Original
东方行进仪礼演艺的传播与流变
2001年10月下旬，第8届BESETO戏剧节的第2部分——中、日、韩三国传统民间表演艺术在东京银座举行。三国的民间艺术家带来了他们各自的祭礼演出艺术。中国江西南丰县的农民表演了当地的傩舞与傩戏，韩国的艺术家演出的则是大型的葬式巫仪，日本富山县的民间艺术家表演了经过改造的歌、舞并重的盆踊。有趣的是，三国的艺术家们，都不约而同地使用了剧场中的“花道”。而演出效果却毫无游离或不伦不类之感。这里有两个问题值得注意：其一、他们都自然而然地使用了“花道”；其二、“花道”上的行进式表演与舞台上的表演水**融。为什么？
我认为，根本的原因就是：在东方，在中、日、韩三国，在东方其它国度，自古以来风行着行进礼仪以及行进演出艺术。对这种演出艺术，大家（演者与观众）都十分熟悉。为此，中国、韩国的艺术家们可以毫无阻碍地使用“花道”。
历史证明，这种行进仪礼与行进演出艺术对戏剧发生了重大影响。
长期以来，人类对行进仪礼、行进演艺怀着一种莫明的情愫。东方诸民族对此似乎更加眷恋，乐此不疲。人们不断地创造它、维护它、传播它、容纳它、扩展它、丰富它、变异它。于是它真的像长了腿似的，在东方大地上不断游走，此地消失了彼地存，或在原产地它早已变了形态，却在流传地风采依旧抑或乔装改扮地存留着——从娱神到娱人，或二者兼而顾之。有的则不是某种演艺形态的直接传播，而是在一种共有的观念形态制约下，遍地开花。于是，行进仪礼、行进演艺犹如九曲流觞，回回转转，流淌在东方大地上，也流淌在东方人的心里。
东方的行进仪礼大约有两大源头，一为印度古代的佛教行像，一为中国商周以降的行傩。是它们发端了东方绵延千古的行进仪礼和行进演艺。
本文将对东方多国的行进礼仪以及行进演出艺术，进行分析与探索，并尝试着解读它如何作用于戏剧的发生与发展。
译文Translation
On the Spread and Change of the Marching Liturgy and Marching Performances in Eastern Countries
In late October 2001, at Ginza, Tokyo, a traditional folk art performance was held by artists from China, Japan and Korea as the second part of the eighth BESETO Drama Festival. Artists from the three countries presented their respective sacrificial liturgies. Peasants from Nanfeng County, Jiangxi Province performed Evil-Exorcising Dance and Evil-Exorcising Drama. Korean artists performed a large-scaled Magic Ritual Dance for burials. Japanese artists from Tomaya brought to the audience the reformed Bon-odori songs and dances. Interestingly, all artists from three countries used the “Flower Path” in the theatre. The performance did not feel any sense of disassociation. Here there are two aspects which deserve our attention: 1. they all naturally used the “Flower Path”; 2. The marching performance on the “Flower Path” and the performance on the platform matched well with each other. Why?
In my view, the fundamental reason for this is that in the eastern countries, especially in China, Japan and Korea, it has been a tradition to have the marching performance or marching liturgy since ancient times. Both audience and performers are familiar with this kind of art. Therefore, artists from these three countries could use the same “Flower Path” without any distinction.
History has proved that this marching liturgy and marching performance have greatly influenced the emergence and development of drama.
For a long time people have had an inexplicable affection for marching liturgy and marching performance. Eastern nations specifically love to do this. Generation after generation, people have kept on creating, sustaining, spreading, adopting, expanding, enriching and changing this art. It seems to have taken wings to fly across Asia, emerging in different places. It may have disappeared or transformed from its original place, but it is sustained in other forms and in other places, still carrying its beauty and charm, with its purpose to amuse gods or human beings, or both. Sometimes it may not be spread directly in one kind of art form, but under one common idea or ideology it was spread in all places. The marching liturgy and performance is like a winding river, flowing over the eastern lands, as well as in the hearts of the people in the East.
There are two sources for the eastern marching liturgy: one is the parading of Buddhist statues in ancient India; the other is the Marching Exorcising performance from Shang Dynasty in China. This essay is going to analyze and explore the marching liturgy and marching performance in many countries in the East, trying to interpret how this art has affected the emergence and development of drama.