摘要
对传统藏戏现代转型的已有研究多将其置于非遗保护、文旅融合等视域之下,探讨其传承与发展的意义与措施。本文在田野调查基础上,尝试从新的视角,即从藏戏人的知识结构梳理总结传统藏戏现代转型的成功经验,提出新时代藏戏人应同时具备地方性知识和新知识,传统藏戏的现代转型在很大程度上就是获得了新知识同时又利用了民族文化资源的藏戏人促使传统藏戏产生了新的结构,具备了新的功能。这种分析方法有助于我们以更积极的眼光看待藏戏的文化变迁,关注藏戏人怎么自发地通过组成“蜂窝”的方式,能动地去发展,而不是把它看作弱者,一直需要受到保护。只有这样,才能有效推动传统藏戏在新的历史时期的传承与发展。
Through field investigation of traditional Tibetan opera,this paper tries to summarize the successful experience of its modern transformation from the perspective of "people involved with Tibetan Opera "so as to support and supplement the "new knowledge analysis"proposed by Zhang Jijiao 2018. With regard to Clifford Geertz’s framework of "local knowledge",Zhang Jijiao puts forward the analytic method of "new knowledge ".This article tries to use this method to explain the cultural transformation of traditional Tibetan opera.However,Zhang believes that only by combining the two methods can the issues related to the knowledge structure of the subject be revealed comprehensively in the process of its modern transformation. He proposes that "people involved with Tibetan Opera"should have both local knowledge and new knowledge in order to effectively promote both the traditional transmission and development of Tibetan opera in the new historical period in the New Era.This article starts by sorting out the disputes caused by the "name and classification system"of Tibetan opera,and involves a discussion of the famous reformers who appeared during the more than600 years of the history of development of the Tibetan opera. Their innovations of the Tibetan opera are not the same as the many reforms in current times which evaporated "like a passing glance ".The reason why their innovations were able to be handed down from generation to generation is associated with their deep understanding of traditional Tibetan opera,and their familiarity of traditional performing arts. Many interesting historical stories enlighten us about the importance of local knowledge for the modern transformation of traditional Tibetan opera.In today ’s society,any region,or any art form,has inevitably been impacted by or involved with modernity to a certain degree, so, local knowledge is no longer all-encompassing and omnipotent. Faced with new problems that cannot be solved by local knowledge,we need "new knowledge". There are two layers of new knowledge. On the one hand,it refers to scientific knowledge,which,in the view of Anthony Giddens is known as an expert system,and it is abstract. The implementation of such a "knowledge system"is associated with a specific place,and a place has its own social and cultural context. So,how this "knowledge system",which embeds the specific context,becomes more important. On the other hand,for the Tibetan opera,there is also experiential knowledge,a kind of knowledge that accumulates gradually during the process of individually building one’s own "cellular society ". It is both public and private. Taking a Tibetan opera entrepreneur as an example,this article reveals some of his achievements in promoting the "industrialization"of Tibetan opera,and explores the reasons why he has the courage to try,to innovate and finally obtains these achievements from the aspect of his personal growth,especially from his education and work experience.Of course,concerning the reasons why the Tibetan Culture and Art Group under his leadership made remarkable achievements just within a few years, there are, besides his personal factors,many other factors intertwined here,such as state power,market economy and tourism development.This article focuses on an analysis of his personal factors,and believes that the personal factors of this entrepreneur are very important. Why do we say so? Tibetan opera has changed from an exorcism ritual and means for collecting contributions to a festival performance of blessing and entertainment. The opera then,was combined with tourism where it diverged into performance for tourist encounters. After that,driven by local governments,and in league with capitalism,became commercialized. The driving forces for all these changes are connected with the changes in requirements,and the role of the new knowledge lies in finding the new requirements and meeting those new requirements. At this point,one needs to organize performances,and find markets and so on. In this process,one interacts with different people and forms one ’s own network of relationships. This network is different from the umbrella-form society dominated by the government. Instead,a "cellular type society"has been formed on the basis of their mutual benefits or their common cultural identity.In this kind of "cellular style society,people gather together and are willing to stick together and do things related to the Tibetan opera together because of their common local cultural basis. This kind of network,along with experiential knowledge,will give one the ability to handle things that one cannot control or handle if one lacks sufficient knowledge.At the same time,we notice that because of this "new knowledge ", these "people involved with Tibetan Opera " have re-realized the importance of "local knowledge " and they emphasize which part of the traditions cannot be changed in Tibetan opera performances. Concerning the protection and inheritance of Tibetan opera,as well as the relationship between tradition and innovation,they have gradually gained a profound understanding based on practice.The significance of combining local knowledge and new knowledge for the transmission of Tibetan opera lies in the fact that generations of "people involved with Tibetan Opera",on the basis of the local knowledge,constantly promoted the reform and innovation of Tibetan opera due to their new knowledge. People are the soul of the performing arts,and the history of traditional Tibetan opera,which has lasted for thousands of years,is the history of tireless reform and innovation of the"people involved with Tibetan Opera". Under the new historical conditions, the modern transformation of traditional Tibetan opera is, to a large extent,coming from people involved with Tibetan Opera who have acquired new knowledge and made use of ethnic cultural resources,promoted the marketization and industrialization of Tibetan opera, and gave rise to a new structure of and new functions for traditional Tibetan opera. This analytical approach helps us to take a more positive view of the cultural changes in Tibetan opera,and to focus on how people involved with Tibetan Opera can spontaneously and actively develop it by building their own "cellular society",rather than seeing the opera as weak and always in need of protection. Only in this way,can traditional Tibetan opera be effectively transmitted and developed during the new historical period.
作者
杨于卓
Yang Yuzhuo(Southwest Minzu University,Chengdu 610225,China)
出处
《民族学刊》
CSSCI
北大核心
2020年第4期43-51,127-128,共11页
Journal of Ethnology
基金
2018年度国家艺术基金项目“藏戏评论人才培养”阶段性成果
西南民族大学中央高校基本科研业务费专项资金项目资助(2020SYB29)阶段性成果。
关键词
藏戏
地方性知识
新知识
Tibetan opera
local knowledge
new knowledge
