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全部區域 > 神學 > 禮儀與聖事 > (禮儀)__舞

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jj


Posted -
2003/7/14 下午 11:19:37

請問各位, 曾否參與過有舞蹈表演的主日感恩祭? (或許有教友會稱呼它為禮儀舞) 究竟它在禮儀當中擔任了甚麽角色? 是那一樣標記? 又或者它之所以稱為禮儀舞, 是只因為它在禮儀進行中出現? 懇請各位指教.

Cecil


Posted -
2003/7/16 上午 11:01:42

我所知的也不多,大概是以禮儀為主題,除了歌詠,也配合舞蹈,但好像不是所有禮儀環節也合的,像進堂時可以,但成聖體和領主時則不大合適.
台灣教區很愛用舞蹈表達禮儀的內容,香港嘛,大堂,聖本篤,還有哪個堂區?
我也從未有參與這樣的聖祭的經驗.

brotherwilliam


Posted -
2003/7/17 下午 11:15:14

問什麼是禮儀舞時,也許要問什麼才是禮儀。「禮規」、GIRM2000等,也沒有說可以或不可以。但到要什麼都等「禮規」或GIRM2000說才做,就太可惜了。
禮儀中,唱什麼歌等,有選曲的彈性。但都不離引導團體舉心向上,所以表演式的獻唱,是不宜。同樣,禮儀舞,應是導人更投入祈禱,而非純粹個人表演。
個人祈禱中加入韻律動作,作為靈修是一個方法,但在禮儀中,加入韻律動作,則要有許多配合。
一般的遊行,如進台、禮成、預備祭品、歡呼(聖聖聖、阿肋路亞)都可以是引入禮儀舞元素的機會,但切記不要抱表演的心。

Cecil


Posted -
2003/7/18 下午 05:55:39

花枝招展的穿戴也是不宜;吊帶巴蕾舞衣免問.

PAUL


Posted -
2003/7/20 下午 06:49:00

咁樣不如問下甚麼是彌撒啦,彌撒是否只是一種紀念呀??是否只是一個團體聚會呀??當然不是啦,彌撤是一個祭獻呀,甚麼禮儀舞,簡直不知所謂,教會邊度寫明有D咁騎呢古怪既野架,我覺得最慘就係連神職人員都容許這荒唐的事存在,請各堂區負責禮儀的禮儀專家多了解教會禮儀,彌撒唔單只係祈禱咁簡單架,如果有教友熱愛舞蹈,大可以在堂區組織跳舞小組啦,又或者跟隨新教徒那般攪甚麼敬拜讚美,每星期去做崇拜啦

Cecil


Posted -
2003/7/21 上午 10:22:55

拉丁禮沒有提及舞蹈,相信跟當年的歐洲文化有關 - 跳舞不是祈禱的一部分.
如果天主教在一些熱愛以舞蹈表達信息的地區,是否也應該禁止? 甚麼的尺度管轄禮儀本地化哩?
這牽涉到宗教和文化的重疊切面問題,不是可以一概以論的就是了.

Cecil


Posted -
2003/8/20 下午 03:36:20

請看禮儀學者趙一舟神父的高見 -
"1舉行禮儀時能夠跳舞嗎?

這可能是許多信友在參與黃主教就職典禮彌撒之後所願知道的問題。答案應該是肯定的。但從教父時代直到中世紀,贊成與反對禮儀中用舞蹈的爭議一直延續。中世紀時的西方教會認為舞蹈是世俗的、非神聖的,不適於用在禮儀中。直到近代禮儀運動興起,尤其在梵二大公會議後,教會開始重視禮儀舞蹈問題。近代所舉行的幾次世界聖體大會,彌撒慶典中都插入了舞蹈節目;教宗到各國牧靈訪問所舉行的大型的禮儀聚會(彌撒)也多有舞蹈項目。羅馬聖部於一九八七年批准了非洲扎伊爾(剛果)教區把舞蹈列於羅馬禮的禮節中,視之為組成部分,一如禮儀音樂。這為禮儀舞蹈的發展深具意義。



梵二大公會議、禮儀憲章公布後,教會中一些學者對禮儀舞蹈也在研討,著名的戴思(Lucien Deiss)神父與一位舞蹈專家寫過一本書,名為Louez le Seigneur par la Dance《要以舞蹈讚頌上主》。書中列舉了應以舞蹈讚頌上主的各種理由:聖經及教會的傳統,神學及牧靈等方面的理由。是在推行禮儀舞禱時值得參考的書。在本書序言開始,戴思神父首先表明他對舞蹈的基本想法,說:「歌唱是用聲音表達喜樂。它可能成為祈禱。在禮儀中,它應該是一種祈禱。舞蹈是用身體表達喜樂。它也可能成為祈禱。在禮儀中,它應該是一種祈禱。」戴思神父認為歌唱是一種藝術,舞蹈也是一種藝術,都應該用來服務禮儀。禮儀憲章說:「慈母教會常是藝術的愛好者,並經常要求藝術崇高的服務,特別為使有關敬禮的事物,真正表現高雅、和諧、美觀,成為天上事物的記號與象徵」(禮儀122)。本節中所稱的藝術,除了音樂、繪畫、雕刻、建築藝術外,戴思神父說,也應該包括舞蹈藝術。事實上,羅馬禮儀及聖事部於一九九四年關於禮儀本地化頒布的訓令《羅馬禮儀與文化互融》也提到:「有些民族中,歌唱時,參禮者自然地伴以拍手,有節拍的搖擺,以及舞蹈的動作。此種外在的表達方式,在這些民族之禮儀行動中也能有其位置,只要這些方式常能表達團體的祈禱:朝拜、讚美、奉獻及求恩的祈禱即可,而不應是純粹的表演」(42號)。



2舞蹈應如何服務禮儀?

禮儀,尤其是感恩祭禮儀,基本上是一種綜合性的祈禱。他有基本的架構,不同種類或性質的祈禱文。有學者把彌撒禮儀比作一首大樂章,樂曲中分為不同的部分,節拍快慢、高低、強弱各有不同的唱法。彌撒的各部分經文,無論是誦讀或歌唱部分也各有其功能或特性。禮儀中歌唱應與禮儀每個部分的祈禱結合,發揮其功能、凸顯其特性,亦即能表達或有助於信友內心的祈禱,更熱誠地參與聖禮。同樣,禮儀中的舞蹈,不是為了表演舞藝,每項舞蹈應與該部分禮儀的意義相符合。概括地講,舞蹈在禮儀中的主要功能如下:

1豐富信友的祈禱生活:信友在禮儀中的祈禱,不僅是內心的,也應該形之於外,所以有口禱、有歌唱、也能有身體的祈禱;簡單的肢體動作、姿態,全身活動的舞蹈。「你們要歌舞讚美上主」(詠一五○,4)。祈禱不只是個人的,也是團體的。舞蹈啟發並加強信友的團體意識,使能同心同德讚頌天主。通常信友在禮儀中祈禱,除心禱、口禱外,肢體的祈禱僅僅是跪或站而已;很少利用全身的動作來祈禱。



2活化信友的祈禱方式:為了維護普世教會禮儀的統一模式,教會制訂了一些禮規,但梵二後的禮規與以前的不同,並不要求禮儀嚴格的一致化。死守禮規條文會使禮儀的舉行變得僵化和死板。禮儀中插入一些適當的舞蹈,會使禮儀活潑生動。習慣以歌舞敬拜神明的民族對以靜態為重的禮儀肯定不易適應。我們可以瞭解為何非洲一些民族早已嘗試以適於當地習俗的敬神方式舉行彌撒。因此對本省原住民在禮儀中採用舞蹈,不是應該予以鼓勵嗎?



3美化彌撒慶典的禮儀:禮儀的隆重與優美,歌唱是不可缺少的,同樣,舞蹈也能增加禮儀的美感和隆重。我國每年在孔廟舉行的祭孔大典,如果缺少了舞蹈項目,就不夠完美、隆重。當然禮儀的美有賴於舞蹈本身的美。所謂舞蹈的美,不是亂蹦亂跳,舞者應具有熟練的技藝,配以適當的、美麗的服飾和音樂。

為了使舞蹈能達至服務禮儀的目標,應特別針對彌撒的各個部分的性質編訂不同類型的舞蹈。一如彌撒中在不同的部分所唱的歌曲都有差別。歌曲與舞蹈都是為配合祈禱而服務的,不應因舞蹈或音樂而扭曲祈禱的性質。



3彌撒中哪些部分可配以舞蹈?

基本上,不應有太多的舞蹈,而把感恩慶典變成「舞會」。戴思神父具體地指出彌撒中適於以舞蹈配合的部分有:進堂詠、答唱詠、福音前遊行時、領主詠、禮成等部分。這些禮儀部分,性質上各有不同,因此與之配合的歌曲與舞蹈也應有所區別。



1進堂詠:是彌撒開始時所唱的歌曲,其功能是:標誌出禮儀的開始、促進信友的團結、導引他們進入所舉行的奧蹟中,並伴同主禮及輔禮者進堂時的行進(procession)此時的舞蹈應有助於加強以上這些功能。一般而言應製造出歡欣的氣氛,突顯出我人如何喜樂進入天主的殿堂,一如聖詠所說:「我真高興,我們要進入上主的聖殿」(詠121)。



2答唱詠:顧名思義,這是一首在聆聽讀經一之後所做的答覆。除了對向我們講話的天主表示感謝、讚頌之外,其主要功能是幫助信友默想,也可以說「消化」或「吸收」剛才所聽到的天主的聖言。所用的歌曲通常都取自聖詠。為達到其主要功能,所用來與之配合的舞蹈及音樂應比較柔和,才能有助於默想和祈禱。



3福音書遊行禮:教會對基督的福音表示特別的敬禮,將持福音書到讀經台的遊行予以隆重化:有持香爐者作前導,後有持蠟燭者陪伴持福音書的宣讀者。此時如有舞者以合適的舞姿相陪,更富有意義。筆者曾看過此類的舞蹈:十位舞者各持蠟燭(碗),在適當的歌曲、音樂的伴奏下,以優雅的舞姿走在福音書前面,象徵歡迎基督親臨現場,向人講話,參與聖祭。



4獻禮遊行禮:戴思神父並不主張在此配以舞蹈,因為依照新禮彌撒的精神,此部分只是禮品的準備,不宜隆重化。但也有學者說,可以用舞蹈配合獻禮曲的詠唱及禮品遊行。其功能是陪伴此遊行禮,予以隆重化,並營造一種喜樂、莊嚴的氣氛,故此不可在遊行之後,再插入舞蹈節目;同時要注意,不要使此準備禮品部分拖得太長。



5領聖體後的感恩:通常在大家領聖體後,詠唱一首聖歌,感謝、讚美天主。此時當然也可以用肢體語言、舞蹈來表達對天主的感恩之情。



6最後在彌撒禮成後,禮成曲可以舞蹈取代,表達此日參與聖祭的快樂。



此外,有人問,頌謝詞後的「聖、聖、聖」部分可否配以舞蹈?我個人以為不適宜。頌謝詞已經開始感恩經,這是彌撒中最神聖的部分,宜保持其神聖、莊嚴的氣氛。就職典禮彌撒中把「聖聖聖」的歌詞以配合舞蹈的歌曲「來讚美我主」所取代,不但破壞了頌謝詞與下文的連慣性,也遮蓋了此部分經文的豐富意義:對至高天主的崇敬朝拜,對其超越諸天大地的光榮和偉大工程的驚嘆讚賞,向奉上主名而來者的呼求等意義,所做的舞蹈與配合的歌曲,並不能表達出來。而且,這可能也是一種嚴重的「違規」行為(參禮儀憲章22)。

另一「違規」事件是竄改、簡化光榮頌的歌詞(參新訂彌撒經書總論53)以配合此部分的舞蹈。事實上此項舞蹈似乎也不需要,因為很難表達光榮頌這讚美詩的優美和豐富的意義,同時在集禱經後,馬上又開始另一項舞蹈,不是太多了嗎?此讀經前的舞蹈之配合歌詞是「主耶穌對我說話」。這項插曲與舞蹈倒是可以接受,作為進入到聖道禮儀的準備,是滿有意義的。



4天主經可以配以舞蹈嗎?

為答覆這個問題,首先要明瞭天主經在彌撒禮儀中引進到這一部分的意義及其功能為何。整個彌撒禮儀的發展,有多層的節奏,以感恩經為中心,其高峰是聖三頌及其阿們。接下來是領聖體禮,自天主經開始,有附禱經、求平安及平安禮、擘餅禮(及羔羊頌)、主禮祈禱文,都是為了領聖體作準備。天主經之「主調」是祈求:祈求天賜日用量,即耶穌聖體,並求赦免罪過、淨化心靈,以善領神糧(參彌撒經書總論81)。之後所有經文也都是以「祈求」為中心的祈禱文。因此,有禮儀學者主張,天主經不一定要用唱的方式。法國禮儀音樂學者Gelineau神父建議,天主經的詠唱方式應是較為緩和的、發自內心的、低聲的祈禱。所以,即使要詠唱,應與其他歌曲不同,因為天主經更是祈禱,在詠唱時應流露出祈禱的韻味,好像兒女在慈父面前懇求食物。基於此,不應把整個天主經變成「高聲歡呼詞」,以「願你的名受顯揚」作主調,而且以高舉雙手配合,更是不當的。此種詠唱方式會使信友形成一種錯覺:天主經是彌撒的最高峰。祈求平安禱詞後的「阿們、阿們、阿們,願你的名受顯揚」更是破壞了彌撒禮儀整體的節奏,扭曲了此部分的祈禱性質。主教們可否禁止,以這種方式在彌撒中詠唱這新式、並未經合法當局批准的天主經歌?那麼,如果唱這首歌時,再配以「花蓮式」舞蹈,顯然也是不適當的。當然這新式天主經歌可在彌撒外的活動中應用,想這是作曲者的主要目的。

假設天主經的音樂曲調與舞蹈互相配合,能表達虔誠的祈禱,真能幫助信友靜下心來,準備領主聖體,還是可以嘗試的。不過,無論音樂、歌曲,或舞蹈方式,須經合法當局核准,始可於彌撒中採用(參新版彌撒經書總論393)。"

Cecil


Posted -
2004/5/14 上午 09:36:56

Vatican's "Official" View on Liturgical Dance:-

DANCE IN THE LITURGY
Congregation for the Sacraments and Divine Worship
--------------------------------------------------------------------------------

The following essay appeared in "Notitiae" 11 (1975) 202-205, and is labeled as a "qualified and authoritative sketch." It is the mind of the Congregation for the Sacraments and Divine Worship (presently called Divine Worship and the Discipline of the Sacraments) that this article is to be considered "an authoritative point of reference for every discussion on the matter." Therefore, it is commended for study by diocesan liturgical commissions and offices of worship. (This English translation first appeared in The Canon Law Digest, Vol. VIII, pp. 78-82).


THE RELIGIOUS DANCE, AN EXPRESSION OF SPIRITUAL JOY

The dance can be an art: a synthesis of the measured arts (music and poetry) and the spatial arts (architecture, sculpture, painting).

As an art which, by means of the body, expresses human feelings, the dance is especially adapted to signify joy.

Thus, among the mystics, we find intervals of dancing as an expression of the fullness of their love of God. Recall the cases of St. Theresa of Avila, St. Philip Neri, St. Gerard Majella.

When the Angelic Doctor wished to represent paradise, he represented it as a dance executed by angels and saints.

The dance can turn into prayer which expresses itself with a movement which engages the whole being, soul and body. Generally, when the spirit raises itself to God in prayer, it also involves the body.

One can speak of the prayer of the body. This can express its praise, it petition with movements, just as is said of the stars which by their evolution praise their Creator (cf. Baruch 3:34).

Various examples of this type of prayer are had in the Old Testament.

This holds true especially for primitive peoples. They express their religious sentiment with rhythmic movements.

Among them, when there is a question of worship, the spoken word becomes a chant, and the gesture of going or walking towards the divinity transforms itself into a dance step.

Among the Fathers and ecclesiastical writers and in the conciliar texts there is mention of dancing, an evaluation of it, a comment on the biblical text in which there is an allusion to the dance; more frequently there is a condemnation of profane dances and the disorders to which the dances give rise.

In liturgical texts, there are at times allusions to the dance of the angels and of the elect in paradise (cf. "Among the lilies thou dost feed, surrounded by dancing groups of virgins") in order to express the "joy and the "jubilation" which will characterize eternity.

Dancing and Worship

The dance has never been made an integral part of the official worhship of the Latin Church.

If local churches have accepted the dance, sometimes even in the church building, that was on the occasion of feasts in order to manifest sentiments of joy and devotion. But that always took place outside of liturgical services.

Conciliar decisions have often condemned the religious dance because it conduces little to worship and because it could degenerate into disorders.

Actually, in favor of dance in the liturgy, an argument could be drawn from the passage of the Constitution on the Sacred Liturgy, Sacrosanctum Concilium, in which are given the norms for adaptation of the liturgy to the character and the traditions of the various peoples:

"In matters which do not affect the faith or the well-being of an entire community, the Church does not wish, even in the Liturgy, to impose a rigid uniformity; on the contrary, she respects and fosters the genius and talents of various races and people. Whatever in their way of life is not indissolubly bound up with superstition and error, she looks upon with benevolence and if possible keeps it intact, and sometimes even admits it into the Liturgy provided it accords with the genuine and authentic liturgical spirit."[1]

Theoretically, it could be deduced from that passage that certain forms of dancing and certain dance patterns could be introduced into Catholic worship.

Nevertheless, two condition could not be prescinded from.

The first: to the extent in which the body is a reflection of the soul, dancing, with all its manifestations, would have to express sentiments of faith and adoration in order to become a prayer.

The second condition: just as all the gestures and movements found in the liturgy are regulated by the competent ecclesiastical authority, so also dancing as a gestre would have to be under its discipline.

Concretely: there are cultures in which this is possible insofar as dancing is still reflective of religious values and becomes a clear manifestation of them. Such is the case of the Ethiopians. In their culture, even today, there is the religious ritulalized dance, cleary distinct from the martial dance and from the amorous dance. The ritual dance is performed by priests and levites before beginning a ceremony and in the open are in front of the church. The dance accompanies the chanting of psalms during the procession. When the procession enters the church, then the chanting of the psalms is carried out with and accompanied by bodily movement.

The same thing is found in the Syriac liturgy by means of chanting of psalms.

In the Byzantine Liturgy, there is an extremely simplified dance on the occasion of a wedding when the crowned spouses make a circular revolution around the lectern together with the celebrant.

Such is the case of the Israelites: in the synagogue their prayer is accompanied by a continuous movement to recall the precept from tradition: "When you pray, do so with all your heart, and all your bones." And for primitive peoples the same observation can be made.

However, the same criterion and judgment cannot be applied in the western culture.

Here dancing is tied with love, with diversion, with profaneness, with unbridling of the senses: such dancing, in general, is not pure.

For that reason it cannot be introduced into liturgical celebrations of any kind whatever: that would be to inject into the liturgy one of the most desacralized and desacralizing elements; and so it would be equivalent to creating an atmosphere of profaneness which would easily recall to those present and to the participants in the celebration worldly places and situations.

Neither can acceptance be had of the proposal to introduce into the liturgy the so-called artistic ballet[2] because there would be presentation here also of a spectacle at which one would assist, while in the liturgy one of the norms from which one cannot prescind is that of participation.

Therefore, there is a great difference in cultures: what is well receieved in one culture cannot be taken on by another culture.

The traditional reserve of the seriousness of religious worship, and of the Latin worship in particular, must never be forgotton.

If the proposal of the religious dance in the West is really to be made welcome, care will have to be taken that in its regard a place be found outside of the liturgy, in assembly areas which are not strictly liturgical. Moreover, the priests must always be excluded from the dance.

We can recall how much was derived from the presence of the Samoans at Rome for the missionary festival of 1971. At the end of the Mass, they carried out their dance in St. Peter's square: and all were joyful.



Notes:

[1]. Vatican Council II, Constitution on the Sacred Liturgy, no. 37; C.L.D., 6, p. 44.

[2]. In favor of the insertion of artistic dancing into the liturgy, reference can also be made to the text of Gaudium et spes, nn. 53, 57, 58. However, the cited texts speak of manifestation of culture in general, and of art which elevates with the true and beautiful. They do not speak of dancing in a specific manner. Dancing also can be an art. Nonetheless, it cannot be said that the conciliar Fathers, when they were speaking of art in the Council, had "in view" also the reality of dancing.

N. 62 of the said consitution, Gaudium et spes, can certainly not be appealed to in this instance. When such number speaks of the artistic forms and of their importance in the life of the Church, it intends to make reference to the artistic forms as relative to the sacred furnishings. The counterproof stands in the texts cited in the footnot: article 123 of the Constitution on the Liturgy and the allocution of Paul VI to the artists at Rome in 1964 (C.L.D., 6, pp. 64 and 735 respectively).


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FROM THESE DIRECTIVES, from the NATIONAL CONFERENCE of CATHOLIC BISHOPS, all dancing, (ballet, children's gesture as dancing, the clown liturgy) are not permitted to be "introduced into liturgical celebrations of any kind whatever." [NATIONAL CONFERENCE OF CATHOLIC BISHOPS (BISHOPS' COMMITTEE on the LITURGY) NEWSLETTER. APRIL/MAY 1982.]

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