戲曲藝人戲神崇祀及禁忌文化析微

The Culture of Worship of Theatrical Tutelary Gods, and the Taboos Observed by Chinese Opera Performers

張勇風(Yong-Feng Zhang)

《戲劇研究》 6期 (2010/07) Pp. 27-50

https://doi.org/10.6257/2010.6027

摘要

戲神作爲中國戲曲的行業神已引起學者的廣泛關注，對各戲神來源、演變和作用更是眾說紛紜，對戲曲藝人戲神崇拜的各種禁忌行爲也有所涉及，但多隻言片語，不成系統。本文以戲曲藝人戲神禁忌爲出發點，對戲曲藝人所祀戲神作出大致的梳理，在此基礎上，探討戲曲藝人祀神的原因：「借神自重」和戲曲藝人戲神禁忌的目的：「借神凝眾」，並進而揭示中國民眾祀神的內在心理：「功利信仰」。

關鍵字

戲神 ； 禁忌 ； 戲神崇祀 ； 戲神禁忌 ； 功利信仰

並列摘要

It has been widely noted by scholars that deities of drama are tutelary gods of Chinese opera performers. The origins, development and functions of each drama god are still a matter of controversy. The various taboo behaviors on the part of the performers connected with the worship of theater gods are also a relevant but still unsystematically treated problem. This paper starts from the taboos involved in the worship of drama gods by Chinese opera performers, then roughly classifies the gods worshipped in Chinese opera. Based on this effort, it explores the reasons that opera performers worship their gods-weighing themselves by gods; then examines the purpose of taboo with respect to theater gods-group consolidation through gods; and finally reveals the inner psychology of most Chinese people who worship gods-utilitarian beliefs.

並列關鍵字

Gods of Chinese opera ； taboo ； worshipping Gods of Chinese opera ； taboo of Gods of Chinese opera ； utilitarian beliefs

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