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配角,广义地讲,是与主角相对的其他角色。戏曲里的配角,还有一种特殊的形式,即习惯上称呼的“穿卒”或“吼班”。它在戏中担任的角色有:上天龙、捞子手、褂子、马衣、袍子、打手、彩女、丫环、女兵、内倌子等。这些角色在戏中几乎没有台词或极少台词,因此历来不被人们所重视,过去有所谓“得胜会”一行的专职演员来担任这些角色,现在已无专人承担。当然,问题并不在于戏曲演员是否一定要有这一职能的专门分工,问题在于:这些配角在戏中的作用,越来越被人们所忽视。事实上,戏曲里的这种特殊配角,是因某些戏剧情节内容的需要而设置的,如将帅率领的兵卒,帝王必须的仪仗,公堂上的衙役,公子哥儿带的打手等等。一般说来,一切戏剧形式设若内容与此相关,都会使用这些角色。但在戏曲里,由于写意、夸张、虚实相生,以及形式美的高度追求,这些角色,已成为体现戏曲美学特征的重要手段,是构成戏曲总体美感的一个不可分割的组成部分。本文力图从美学的意义上探讨这种特殊配角在戏曲的艺术整体中的地位和作用,以引起人们的关注。
Supporting role, broadly speaking, is the opposite of the protagonist’s other roles. The supporting role in the drama, there is a special form, that is customary to call the “Death Knows” or “roar classes.” Its role in the play are: dragons, fishing hands, gowns, jerseys, robes, thugs, color women, maids, women soldiers, priestesses and so on. These characters have hardly any lines or very few lines in the play. Therefore, they have never been valued by the people. In the past, there were dedicated actors who used to call the “Victory Party” to serve these roles. The problem, of course, is not whether or not the opera actors must have a special division of labor. The problem is that the role played by these actors in the play has become increasingly overlooked. In fact, this special supporting role in the drama is set by the needs of certain drama plots, such as the soldiers led by generals, the ceremonial ceremonies required by the imperial court, the runners in the courthouse, the thugs in the elder brother band, and so on. In general, all the forms of the drama will be used if their content is related to this. However, in the drama, these roles have become an important means to embody the aesthetic characteristics of opera and constitute an integral part of the overall beauty of opera due to the freehand brushwork, exaggeration, the actual situation and the high pursuit of formal beauty. This paper tries to explore the special role of this kind of special actor in the artistic whole of the opera in aesthetical sense in order to arouse people’s attention.