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入京前的义和团众素有观戏传统。戏场为义和团的起事预设了实施暴力行为的场所。团众效法武戏人物而幻想超越既有的时空阻隔,进入到了成功反叛的想象世界。戏场营造出了典型的狂欢化场域,狂欢则直接引发团众抗拒礼法的潜在冲动,狂欢化成了团民叛逆情绪的主导性精神致幻源。戏班演剧传输了各地的反叛信息,并为义和团的人际组织网络奠定了基础。义和团和教民之间皆尊崇武戏的礼仪价值,双方以罚戏为手段,设法阻遏对手的意志,扬喻自己的信念,巩固自身的利益。戏场成了入京前义和团时期团众生活的主导性场域,其所体现出的共同祖先崇拜意识支配下的神圣体验的内涵,不仅具备了武戏仪式的既有风范,还矫正了义和团降神附体仪式过于巫术化的负面效应。
The Boxers before entering Beijing have always had the tradition of viewing the drama. The theater pre-set places for violent behavior on the part of the Boxers. The masses follow the example of the martial arts fantasy beyond the existing space-time barrier, into a successful rebellious imagination. The orchestra created a typical carnival scene. Carnivales directly aroused the masses’ potential impulse to resist the ceremony. Carnival turned into the leading spiritual hallucination source of the rebellious mood of the masses. The troupe’s drama transmitted rebellious information from all parts of the country and laid the foundation for the Boxer interpersonal network. Both the Boxer and the Christian people honor the ceremonial values of the martial arts. Both sides use punishments as a means to deter their opponents’ will, raise their own beliefs and consolidate their own interests. The theater became the dominant field of mass life during the Boxer Rebellion in Beijing. The connotation of the sacred experience under the common ancestor worship consciousness embodied in the theater not only possessed both the style of the martial arts ritual, but also corrected the Boxers Appendices ritual is too voodoo negative effects.