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角色蕴含着中国戏剧生发规律的密码,而在角色的生成中“妆”是极为重要的。对于少数民族戏剧侗戏来说,这“妆”的戏剧效应主要集中在丑角,其核心在角色“脸”这一区域。模仿于汉族戏剧丑角而创生的侗戏丑角,有直接对于汉族丑角装扮的平行移植,显示了“妆”的程式意味,也有着他们自己对于丑妆的理解与改造,显出自由随性的生活意味。这素朴的丑妆对侗戏乃至少数民族戏剧来说,有着较为深刻的启示意义。
The characters contain the code of the rules of the Chinese drama, and in the generation of the characters “makeup ” is extremely important. For the Dong opera, a minority drama, the drama effect of “makeup” mainly concentrates on the clown, with its core being in the role of “face”. The Dong opera clown imitating the harlequin drama of the Han drama has parallel portrayals directly to the Han nationality’s harlequin costumes and shows the procedural meaning of “makeup”, as well as their own understanding and remodeling of the ugly makeup. Sexual life means. This plain ugly makeup has a more profound enlightenment to Dong opera and even minority nationalities drama.