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天女散花：以戲劇表演闡釋維摩詰所說經中無分別心之大乘教義=A Goddess Scattering Flowers: A Dramatic Performance to Illustrate the Mahāyāna Concept of Indiscrimination in the Vimalakīrti Nirdeśa Sūtra |
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| 著者 |
鄭鳳姬 (著)=Cheng, Fung-Kei (au.)
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| 掲載誌 |
2014東亞佛教思想文化國際學術研討會
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| 出版年月日 | 2014.11.01 |
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| 出版者 | 國立臺灣大學文學院佛學研究中心 |
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| 出版サイト |
http://homepage.ntu.edu.tw/~d01124001/2014eastasianbuddhism/new_page_1.htm
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 會議論文=Proceeding Article |
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| 言語 | 中文=Chinese; 英文=English |
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| ノート | 作者單位：香港大學社會工作及社會行政學系博士 |
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| キーワード | bodhisattva=菩薩; dharma=法; drama=戲劇; impermanence=無常; indiscrimination=無分別; Law of Dependent Origination=緣起法; Mahāyāna=大乘佛法; non-self=無我; non-dualism=不二; voidness=空 |
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| 抄録 | The Vimalakīrti Nirdeśa Sūtra, an influential Mahāyāna scripture, is famous for its used stories for the purpose of preaching, in particular, “A Goddess Scattering Flowers”, an internationally renowned scene which expounds on major Mahāyāna teachings. By analysing its dramatic representations, the current study elaborates on the doctrine of indiscrimination, grounded in the law of dependent origination, voidness, impermanence, non-self, non-duality, and dharma. It also presents the effectiveness of using humour, metaphors, similes, conflicts, contrasts, contradictions, and paradoxes to powerfully delineate rich connotations through character performance, stage property, stage setting, dialogue, and action. With the aid of these theatrical components and techniques, this demonstrates how such a brief scene within a fable is capable of explaining a cluster of Buddhist philosophies pertaining to self-transcendence, self-management of mind, and freedom from dichotomy, formalism, and self-boundary; in conclusion, enlightenment. This theatrical presentation highlight may allow scholars to further explore alternatives for philosophical discussion.
《維摩詰所說經》是一部具影響力的大乘經典，以故事說大乘佛法見稱，尤其是「天女散花」一段，更是蜚聲國際。本文透過分析其戲劇的表演手法，根據緣起性空、無常、無我、不二、法，解說無分別心。同時，利用人物、道具、舞臺設計、對白、動作等表演手法，探索以幽默、暗喻、類比、衝突、對比、矛盾、弔詭等效果，有力地表達豐富的隱喻。這段戲劇借助舞臺元素和技巧，示範如何以一段精短的神仙故事解釋深奧的佛教哲學，包括自我超越、心靈管理，和打破二元、形式主義、自我局限；簡言之，就是開悟覺醒。這可能鼓勵更多學者嘗試以戲劇表演討論哲學思想。
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| ヒット数 | 1601 |
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| 作成日 | 2015.10.15 |
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