四川省阿壩州黨壩鄉尕南村嘉絨藏戲展演與社會關係

本文以四川省阿壩州嘉絨地區的藏戲分析為核心，理解當地黨壩尕南村嘉絨人在不同的政治、社會制度下，如何透過節日的舉辦包裝藏戲展演，推進社會結構的再循環關係以及形塑族群文化認同。嘉絨藏戲雖然是被歸置在中國藏戲系統下的地方戲劇，但其以嘉絨語為表演語言，以地方的文化符號、民俗風情作為表述的面貌呈現，自身的扎根、生長、興盛、消停、復甦都與當地社會的樣態息息相關。因此，文中依循著黨壩尕南村的社會發展，探其中嘉絨藏戲所扮演的角色，描述「戲劇」與「社會」相互循環共生的動態過程。文中以兩個明確的時間段來鋪陳藏戲與社會之間的關係。其一是1953年以前黨壩尕南村所執行的黨壩土司制度，土司以土民同歡的「斯格忍堅」節日來彰顯執政的正統性，同時按照當地的社會制度，以有家名的家屋自身的社會階序來安排劇場座位，呈現一個小型社會的縮影，透過劇場內的展演再一次生產當地的社會結構。其二是1990年之後嘉絨藏戲在尕南村的發展，此時出現了被嫁接的劇場「看花節」，嘉絨藏戲又重新被安置在節日當中，轉換與觀眾對話的表演形式，並且重新連結當代社會的發展，再度循環家屋的延續，以及人對於家鄉文化的情感認同。「家」是兩個時間段中，連結藏戲與社會關係中最鮮明的角色，也是最深層穩定的力量。透過這股力量，回到論文最關心的核心：非觀賞型的嘉絨藏戲如何在現代化衝擊的社會中傳承與發展？研究者、報導人、國家指定文化傳承者、藏戲老中青演員等，誰都沒有辦法在這文化潮流的浪尖上給予肯定的回應。但或許嘉絨藏人最根本的社會單位-有家名的家屋，為個人所建立的家屋與家人相互性的存在價值，可以與藏戲一同循環。

關鍵字

嘉絨藏戲；嘉絨社會；家屋社會；中介；類中介

並列摘要

This study focuses on discussing the rGyalrong’s Tibetan Opera, and figures out how the rGyalrong people in Dangba Ganan Village, under different political and social institutions, promote the re-cycling relationship of the social structure and shape their identity through the Tibetan Opera. Even though the rGyalrong’s Tibetan Opera is placed under the system of Chinese Tibetan Opera, the rGyalrong’s Tibetan Opera uses their own language and performs local cultural symbols and folk customs. The development of the rGyalrong’s Tibetan Opera is closely related to the local society. Therefore, this study follows the social development of Dangba Ganan Village, explores the role that is played by rGyalrong Tibetan Opera, and describes the dynamic process of the mutual circulation and symbiosis of "opera" and "society". This study lays out the relationship between Tibetan Opera and society in two specific time periods. The first one is before 1953, in which time the Dangba Tusi ruling institution which had been implemented in Dangba Ganan Village. The Tusi demonstrated the legitimacy of their ruling with the "Sihge-renjian " festival to the local people, and people’s seats were arranged by the their “ house”, which had a family name and the name showed its social hierarchy in the local society. It presented a miniature of the society, and also represented the local social structure through the performance of opera. The second is the development of rGyalrong Tibetan Opera in Ganan Village after 1990. At this time, the local people have continued the “Ruomuniou” festival, however, they have remodeled it as a contemporary cultural festival, which is called "Kanhua Festival". The rGyalrong Tibetan Opera is put in the festival. But it changes the form of dialogue with the audience, and it re-connects the development of contemporary society, re-cycles the continuation of houses, and re-shapes people's identification with their hometown culture. "House" plays the most distinctive role that connects Tibetan opera and society in these two periods of time, and it is also the strongest force to maintain social stability. Through this force, we aim at the core that this study concerned most: How can the primitive rGyalrong Tibetan Opera be inherited and developed in a modern society? The researchers, the reporters, the state-designated cultural inheritors, the young, middle-aged, and old Tibetan Opera actors, etc., neither of them can give a positive response to this wave of cultural trends. However, the most fundamental social unit of the rGyalrong Tibetans-a house with a family name, whose value is building the mutuality between the house and the family for the individuals, could circulate together with the Tibetan Opera.