This article traces the transformation of hat bội, a form of traditional opera in Southern Vietnam, from its primary role as entertainment into a religious activity after the Reform (Đổi Mới) were enacted in 1986.,This research is based on ethnological fieldwork complemented by a review of historical documents and of the available literature on hat bội, cultural policies and on data collected from interviews with artists and spectators at the festival at the shrine to the Lady of the Realm.,Before 1986, hat bội was performed either as a stand-alone entertainment during the fair portion of community festivals or as part of religious ceremonies. The Reform and the accompanying relaxation of state control over religion and culture promoted the resurgence of popular religious fairs across the nation. New opportunities for hat bội to revive opened, artists left state-sponsored troupes to join private companies that catered to religious festivals. But almost exclusive involvement in religious rites has led to artistic stasis for private hat bội troupes.,This research constitutes novel insights of how the Reform in Vietnam affects the transformation of a traditional performance form.

中文翻译：

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娱乐作为一种仪式：越南南部Hátbội的改革后转型

本文追溯了越南南部传统戏曲帽子帽子的演变，从1986年改革运动（ĐổiMới）实施以来，从其主要的娱乐作用变成了宗教活动。该研究基于民族学田野调查，并辅以回顾历史文献和有关帽檐，文化政策的现有文献，以及从在神殿到国度夫人的节日上与艺术家和观众的访谈中收集的数据。1986年之前，帽檐作为社区节日的公平部分或宗教仪式中的独立娱乐活动。改革以及随之而来的放松对宗教和文化的国家控制，促进了全国受欢迎的宗教博览会的复兴。帽子复兴的新机会打开了，艺术家离开了国家赞助的团体，加入了迎合宗教节日的私人公司。但是几乎所有宗教仪式的排他性都导致私人帽子戏班的艺术停滞。这项研究为越南的改革如何影响传统表演形式的转变提供了新颖的见解。