去年8月底,我应邀去贵州省安顺市参加“中国军傩研讨会”。理论探讨之余,还有幸观摩了四场被誉为中国戏曲史上“活化石”的贵州地戏。那精湛的演出,古朴的风格,热烈的场面和神秘的氛围,均使人大开眼界,令人流连忘返。地戏在当地乡间称为“跳神”,为古代军队的傩仪衍变而成,流行在贵州省安顺地区一带。相传明初朱元璋用兵云贵,实行征剿和安抚并举的政策,大力推行屯田制度,让屯军和当地居民共同劳动,共同生活。这支征南大军多为江苏、安徽、江西等江南籍人氏,他们有着“离乡不离腔”的习俗,因而便将军队祭祀的傩仪带到了安顺一带,久而久之,便形成了今天的地戏。故而贵州的同志称他们为地戏之流,而源却出自江南。因 By the end of August last year, I was invited to participate in the “China Military and Military Seminar” in Anshun City, Guizhou Province. Apart from the theoretical discussion, there are fortunate enough to observe the four Guizhou operas known as “living fossils” in the history of Chinese opera. That superb performance, quaint style, warm scenes and mysterious atmosphere, are eye-opener, it is unforgettable. In the local countryside, the play is called “the god of the jump” and is a variant of the aristocracy of the ancient army. It is popular in the Anshun area of ​​Guizhou Province. According to legend, the early Ming Dynasty emperor with Bingyun Guiyang, the implementation of the policy of both extortion and appeasement, vigorously promote the system of Tuntian, so that Tuen Army and local residents work together to live together. The majority of the southern troops are those of Jiangnan who are from Jiangsu, Anhui and Jiangxi. They have the custom of “leaving their own country and leaving their own homes.” Therefore, they brought the ritual instruments of worshiping the army to the Anshun area. With the passage of time, they formed today’s play. Therefore, comrades in Guizhou call them the flow of drama and the source comes from the south. because