The Study Of Jia Cun Sai-she And Its Theater

In this text, it studies the case of the greeting deity SAI organization of JIA villagerin the city of Lu in SHANXI province and its dramatic work.Since the year of 1985 the important discover of a series of transcript about folk SAIorganization of MING AND QING dynasty which the representative is etiquette spreadbook and the anew keep an eye on the doggeries which music family is the chief part, thesoutheast of JIN gradually become the attention emphases and the researchinginterjection of drama,musicology,folklore,anthropology and sociology etc. To thepeople studying the drama history, according to introducing the multidisciplinarymethod, the former worthy's research about the dramatic work in the southeast of JINsupply a consistent result for solving the problems about drama history at the base ofgathering, tidy and analysis the drama documentary of SAI organization, but the fieldsurvey of the research about the drama history can not fitfully fulfill the research, whichmake it hard to organic colligating the introduced multidisciplinary method, so there ismuch to research. In this text based on the relatively consistency and continuity of theculture of the SAI organization in the southeast JIN, a village being the object of survey,try to exhibit a proper sacrifice structure of SAI organization culture and its variance. Thefull text is broken into four chapters, concretion content as follows:The first chapter is the presence of the village history and the sacrifice structure ofthe SAI organization. The presence and continue of religion is the primary coverage ofthe sacrifice structure of village history. This text found the variance of the devotionalhistory of BIXIAGONG from empyrean Madonna to celestial fairy Madonna, and itbrought out the status of historical variation about BIXIAYUANJUN, establishing itssacrifice center jinn position. The extant slather folk-custom activities also witness theexistence of rich SAI organized body's sacrifice tradition and its historical influence. Thesecond chapter is about "the restoration at the present age of traditional sacrifice structureof SAI organized body: The rising and development of JIA village's SAI organized bodyand its dramatic work. The present age SAI organized body's activity begins to recoveryat 1996. The SAI organized body's activities hold in 1996 and 1997 is the result ofcombined action of several parts, and it established the keynote for the future. The restoreand development of the present age SAI organized body's activities is with the cultural integration mode of application of polynomials system and cultural authority confirming.The restorations of folk histrionic space spatial with the center of BIXIAGONGemblematize the contemporary restoration of the traditional SAI organized body'ssacrifice structure. The third chapter is about "the contemporary change of traditionalsacrifice structure of SAI organized body: The survey center is the meeting at August inthe year of 2006 in the village JIA. Analyzing the international proseminar about SAIorganized body and music family convened in August of the year of 2006, through theSAI's figure, the meaning of cultural space, economic operation model and the musicfamily's status, Displayed the new and some essential variance presented at the presentage about the sacrifice structure of SAI organized body. The fourth chapter is about "thedrama figure in the variation of the SAI organized body organized body's sacrificestructure at the present age in village JIA". Since the restoration of the present SAIorganization, sacrifice drama such as passing the five toll-gate changed greatly atperformance figure, and this variation is the result of a relative essentiality variance ofthe traditional SAI organized body's sacrifice structure at the present age. We also canfind the fact that the SAI organized body's activities is increasingly and deeply entangledinto the cultural produce circumstance.The variation of SAI organized body's sacrifice structure and its drama figure madeus anew recognize the internal relation between drama development and culturalorganism of SAI organized body which is the necessary of drama development, and thisalso supplied some thought about cultural spread and hold.