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宋元南戏中存在大量的插科打诨表演 ,具有极强的谐谑品格。从审美角度来看 ,这种谐谑表演具有两种意义。其一 ,从中我们可看出优伶 (这里的优伶指由先秦以“讽谏”为主要职责的优人发展而来的戏曲中的丑角 )身分的转变 ,即由原来文化的传承者转变为艺术的表演者。其二 ,中国戏曲艺术的虚拟化表演观念在南戏的谐谑表演中得到初步确立。南戏中的虚拟化表演分为“虚拟时空”和“以人拟物”两种。其中“以人拟物”的“实拟”表演大多笨拙滑稽 ,具有很强的谐谑意味。但正是这种“实拟”表演在南戏谐谑表演中的大量实践 ,使它不论在运用范围还是表现形态上都为虚拟化表演的最终成熟打下了良好的基础
There is a great deal of gag practice in the South Song opera in the Song and Yuan Dynasties, which has a very strong banter character. From the aesthetic point of view, this banter has two meanings. First, from which we can see that the transformation of the status of Youling (where the actor refers to the harlequin in the drama developed by the pre-Qin dignitaries with “satirical remonstrance”) transforms from the original translator of culture to art actor actress. Second, the concept of virtual performance of Chinese opera art was initially established in the banter performance of Nan Opera. The virtual performances in South Opera are divided into two categories: “virtual space-time” and “humanoid-like objects”. Among them, the “realistic” performance of “people-to-people” is mostly clumsy and funny, with a strong banter. However, it is this large number of practices of “real” performances in banquet performances in South Opera that have laid a good foundation for the eventual maturity of virtual performances, both in terms of scope of application and performance