乡土语言作为羌族表演艺术的文化衔接手段

M. Ilham
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引用次数: 0

摘要

Janger表演艺术仍然能够吸引公众,因为它能够采用Banyuwangi的各种当地语言。除了应用爪哇语外,它还使用Using, Madurese和印度尼西亚语言。然而,《Janger》的演员们不能简单地混合语言。恰当地运用和混合语言是成为一个成功演员的先决条件。本文旨在分析演员在表演中使用四种语言的方式。因此,使用的相关方法是口语的角度。由此得出结论:本土语言是Janger表演艺术与观众之间的文化衔接工具。虽然使用不同的语言,但班宇旺吉的三个主要民族,即using, Javanese和Madurese,可以一起成为Janger的支持者,因为他们象征性地都觉得自己成为了Janger的主人。关键词:扬格表演艺术,文化衔接手段,地方语言。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Local Language as Cultural Cohesive Device in Janger Performing Art
Janger performing art is still able to attract the public because of its ability to adopt various local languages in Banyuwangi. In addition to apply Javanese language, it also utilizes Using, Madurese, and Indonesia languages. Nevertheless, the actors of Janger cannot simply mix language. Appropriateness in applying and mixing languages is a prerequisite for being a successful actor. This article aims to analyze the ways in which actors adopt four languages in their performances. Therefore the relevant approach used is the perspective of orality. This approach leads to the answer that the local languages are the cultural cohesive device between Janger performing art and its audiences. Although using different languages, the three major ethnic groups in Banyuwangi, namely Using, Javanese, and Madurese can together become Janger supporters because symbolically all of them feel become the owner of Janger.   Key words: Janger performing art, cultural cohesive device, local languages.
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