2006-03-30

馬來西亞的道教拔度儀式與目連戲

余淑娟。〈馬來西亞的道教拔度儀式與目連戲〉。《民俗曲藝》151 (2006.3): 5-29
Yee Sok Kiang. “Taoist Ritual of Soul Salvation and Mulian Drama in Malaysia.” Journal of Chinese Ritual, Theatre and Folklore 151 (2006.3): 5-29.

Abstract

本文的依據是200491923日,在馬來西亞柔佛州昔加挽鎮實地考察的一場靈寶九幽拔度法事和目連戲演出。本文首先描述目連戲演出的脈絡,即靈寶九幽拔度法事的道場結構與法事程序。其次介紹演出目連戲的劇團和劇情大要,再透過目連戲與道教齋法的關係,探索目連戲在拔度法事中的角色。最後,本文透過這次的觀察和文獻的輔助,試圖從學理和實際的表演,暸解怎樣的演出才是所謂的宗教儀式劇。本文的結論是:就個人田野調查的經驗而言,比較典型的宗教儀式劇是出現在宗教場合、儀式性質濃厚,強調儀式功效如超度、驅邪、祈福的一種戲劇。
The writing of this essay is based on a Lingboa Soul Salvation Ritual and a Mulian drama I have personally witnessed from 19th to 23th September, 2004. The ritual and the drama took place in Segament, a little town situated in Johor, Malaysia. I will first describe the performance context of the drama, followed by a brief description of the drama, and the role it plays in the Soul Salvation Ritual. Using the results of my fieldwork, supplemented by certain documentation, I shall then move on to discuss the significance of a performance featuring religious rituals from both the view of its theory and practice. To me, the essence of a religious ritual opera is determined by certain religious rituals such as "the soul salvation" or "warding off the evil spirits" it actually carries out during the performance.


Also in Journal of Chinese Ritual, Theatre and Folklore:

余淑娟。〈潮州外江戲的傳播組織:新加坡餘娛儒樂社〉。《民俗曲藝》191 (2016.3): 71-108
Yee Sok Kiang. “The Media of Chaozhou Wai-jiang Opera: Er Woo Amateur Musical and Dramatic Association, Singapore.” Journal of Chinese Ritual, Theatre and Folklore 191 (2016.3): 71-108.

余淑娟。〈戲曲贊助與街戲的變遷:以新加坡韭菜芭城隍慶典為例〉。《民俗曲藝》155 (2007.3): 227-64
Yee Sok Kiang. “Theatrical Patronage and the Social Changes of Street Opera: A Case Study of the Lorong Koo Chye Sheng Hong Temple Festival in Singapore.” Journal of Chinese Ritual, Theatre and Folklore 155 (2007.3): 227-64.