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侏儒与傀儡在中国戏曲史上各有其举足轻重的地位 ,这两个类别、属性并不相同的概念却有着内在的亲缘关系。二者的内在联系首先表现在戏曲脚色体制中丑脚的形体与表演特征上 ,其次 ,侏儒与傀儡不仅在外在视觉差异与比例缩小的形体特征上一致 ,而且在表演和游戏性特征上也殊途同归 ,它们以隐喻式、喜剧性存在于游戏与表演中。最后 ,侏儒的消失与傀儡“异己的、非人的力量支配着人们并把人们变成傀儡的观念”的隐喻性含义的产生同步 ,侏儒在中国宫廷消失的时期 ,正是实用风气滋长、人的主体意识觉醒、世俗文化兴起的时期 ,傀儡的隐喻性意义在某种程度替代了侏儒的原初涵义
Gnomes and puppets have each played a decisive role in the history of Chinese opera. The concepts of these two categories and different attributes are inherently kinship. The internal relations between the two are firstly manifested in the body and performance characteristics of the ugly feet in the system of the roles of the drama. Secondly, the dwarfs and the puppets are not only in conformity with the physical features of external visual difference and reduction, but also have the same characteristics in performance and gameplay , They are metaphorical, comedy exists in the game and performance. Finally, the disappearance of pygmies coincides with the generation of metaphorical meanings of puppets “alien and inhuman forces dominate the notion of people and turn people into puppets,” and the dwarf is at a time when Chinese courts disappear, The awakening of the main body consciousness and the rise of secular culture, the metaphorical meaning of the puppet has replaced the original meaning of the dwarf to some extent