男兒郎還是女嬌娥

最新 07-16

說起日本的國粹，不得不提的就是歌舞伎了。它常年紮根在日本文化的土壤中，並在其文化史上佔有一席重要之地。400年來，它不斷地翻新，改革，時至今日，它以絢麗的舞台設計，華美的服飾，獨到的演繹，引人入勝的情節吸引了一批忠實愛好者，並受到世界廣泛的關注。

Speaking of the quintessence of Japan, Kabuki has to be mentioned. It is rooted in the soil of Japanese culture and occupies an important place in its cultural history. Over the past 400 years, it has been continuously renovated and reformed. The riveting plot attracts a loyal following of fans and worldwide attention because of its fabulous stage design, gorgeous clothing, unique performance and fascinating plots.

據民間普遍說法，歌舞伎最初是由來自出雲大社名為阿國的巫女所創造的一種表演形式，她將能劇，狂言，祭祀舞，少女舞揉合到了一起，並使其著重突顯出少女的婀娜感來。據說，歌舞伎主要還是脫型於當時宮廷中的宮女們通常為宴會獻舞時跳的少女舞。那時候，阿國為了給神社湊維修費，所以到處巡迴演出。她想盡辦法要搏取觀眾眼球，於是，她創造出了一種新的舞蹈——當時她給這種舞取名為傾踴。因為阿國的表演無論是在宮廷里，還是在民間都引得人們嘖嘖稱奇，所以阿國發明的這種舞蹈被大家競相模仿，傳了下來。

According to popular belief, kabuki was originally created as a form of the performance by a sorceress named a Kuo from the Chuyunda society. Noh, raving, sacrifice dance, girl dance were blended together, and she emphasizes the girl"s gracefulness. It is said that Kabuki was originated from a girl dance that the palace maids usually performed at banquets. At that time, in order to pay for the shrine maintenance fees, she toured everywhere. She tried her best to catch the eye of the audience, so created a new kind of dance, which she named it Qing Yong. Because the excellent performance of Kuo, whether at the palace or among civilians, won people"s admiration; the dance was imitated by everyone and passed down generation after generation.

在傾踴被發明不久後，日本進入了德川幕府統治時期，人們的內心被壓抑的更甚，因此開始墮於娛樂生活中。當時的游女們聽說了阿國發明的舞蹈的成功，於是紛紛照學，而且把這種舞改編成了更加奔放，且具有挑逗意義的表演。在攬客時，通常會有一群游女在街頭表演這種舞蹈，其聲勢之浩大驚動了幕府，於是幕府下令，因其傷風敗俗之甚，從此禁止女性表演任何歌舞伎。與游女歌舞伎同時期的若眾歌舞伎也在女性歌舞伎禁令之後風靡過一段時間（所謂的若眾指的是未成年男子），但因同樣涉及了許多色情交易，不久之後也被禁止了。之後歌舞伎成為了成年男子的專有表演，於是後來大家給它起名為野郎歌舞伎。（野郎指的是成年男性）歌舞伎也終於從這時開始慢慢地從專註於樣貌服飾的表演轉為更注重演技的類型了。

Soon after the invention of dance, Japan entered the Tokugawa shogunate period when the people』s heart are suppressed deeply, therefore they began to indulge in the entertainment life. When they heard about the success of the dance invented by Kuo, female tourists followed one after another and adapted it into a more unrestrained and provocative one. At the Showmanship, there would usually be a group of women in the street performing this dance. The huge display shocked the government, so they forbid it for women to perform because of the kabuki』s immorality. Ruozhong Kabuki, contemporary with Yugo Kabuki, was also popular for some time after the ban on female Kabuki (the so-called Ruozhong refers to underage men). But it was also banned soon after because it involved a lot of pornography. Then Kabuki became the proper performance for grown men and was later named Yaruokabuki. The focus of Kabuki finally began to shift from look-and-dress to a style involving more acting.

歌舞伎從發展之初就極其流行的一種角色，那就是女形。所謂的女形指的就是男舞者模仿女人的形態姿勢來表演。此事在中國的戲班子里也會發生，男扮女裝，或者女扮男裝的例子多的是。有人覺得那是因為在那個年代，人們認為一個戲班子里都是同性別的人會比較方便，但是在日本，哪怕時至今日，歌舞伎也是完全沒有女性的份的。關於為什麼只有女形，沒有女性的問題，這個跟眾多歷史原因以及在後來的發展過程中，歌舞伎演員們受到的各方壓力有關。現不仔細分析。

Since the beginning of Kabuki』s development, the female form of roles has been extremely popular. The so-called female form refers to the male dancer imitating the female form and posture to perform. This has also happened in Chinese opera groups, where men dress up as women, or women dress up as men. Some people think the popularity of female-form is because at a vocational school, it would be more convenient to have people of the same gender. But in Japan, even nowadays, women do not take a part in Kabuki at all. The question of why there are only female forms and no women has to do with a lot of historical reasons and the pressure on kabuki actors during the course of their development; It is not carefully analyzed.

女形起源於若眾歌舞伎時期，當時那些還處在發育期，雌雄莫辨，長相清秀的少年們扮起女形來大受歡迎。因此女形也作為一個傳統，被後來的野郎歌舞伎繼承下來。說起著名的女形歌舞伎，最為經典的當是《藤娘》，此劇在日本說起來幾乎無人不知，無人不曉。它講述了一位在藤樹下，似是為失戀而感到憂愁的少女的故事——少女身穿紅色艷麗的和服振袖，頭戴黑色斗笠，肩扛一株紫藤花。此生動鮮活的扮相導致這個角色形象迅速被各個文化領域所吸收。在明信片上，藤娘是一位可以招來桃花運的紫藤仙子；在電影領域中，藤娘是一位幽怨的，滿含冤屈的女鬼；在二次元中，她又是地獄少女閻魔愛的原型……後來她被引申為人們追求的美好事物的象徵。

The female form originated during the geisha period, when those good-looking boys who were still in their adolescence and could not be distinguished between male and female, became popular by dressing up as female. Thus the female form is also a tradition, which was inherited by the later Yaroukabuki. When it comes to the famous kabuki girl, the most classic person is Musume, who is almost known by everyone in Japan. It tells the story of a young girl under a vine tree who seems to be sorrowful about her lost love. She wears a bright red kimonos, a black straw hat and has a wisteria on her shoulder. This vivid and radiant appearance leads to the rapid absorption of the character image by various cultural fields. On the postcard, Musume is a wisteria fairy that can attract peach blossoms. In the film field, Musume is a female ghost full of hatred and resentment towards injustice. In anime, she is the archetype of Jigoku. Later, she denotes as a symbol of the beautiful things people pursue.

剛開始發展的歌舞伎無論是其創作方面，還是演繹方面，都是十分的自由開放。當時的編劇們為了使歌舞伎更加大眾化，就將皇室恩怨，平民生活統統都編成了歌舞伎。明明在那時還是十分親民的歌舞伎，在經歷了歲月的沉澱後，演變成了現在這個門檻極高的古典藝術。現如今，歌舞伎與中國的京劇一樣，即將走上沒落的道路。原因是歌舞伎中的台詞用法都取自於古語，這使其不但變得晦澀還更加難懂了。年輕的觀眾們對歌舞伎的興趣日益減少，沒有新鮮的血液注入，歌舞伎逐漸走向小眾文化。也許是時候讓傳統改革一下了。

Kabuki, which has just begun to develop, is free and open in both creation and interpretation. In order to make kabuki more popular, scriptwriters at that time turned royal enmity and civilian life into kabuki. Kabuki, which was still very well-liked at that time, has evolved into a classical art with high threshold under the restless tide of time. Kabuki, like Beijing Opera in China, is on the verge of decline. The reason for this is that kabuki"s lines are derived from old languages, making them both more obscure and more difficult to understand. Young audiences are losing interest in kabuki, and without any new element, kabuki is moving toward the niche culture. Perhaps it is time for a reformation in this tradition.