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戏曲是我国人民喜爱的民族文艺形式之一,它是电视文艺这个集体中不可缺少的重要组成部分。而作为中国戏曲的一个重要行当——丑角,更是以其独特的艺术魅力为人们所喜闻乐见。 丑角又称“三花脸”或“小花脸”,上至帝王将相下至五行八作,以扮演剧中喜剧角色为特征。在中国传统戏曲舞台上,无论京剧、昆曲、评剧、河北梆子、豫剧、汉剧等剧中都少不了丑角这个角色。所以在梨园行中又有“无丑不成戏”的说法,由此可见丑行艺术在我国戏剧史上占有很高的地位。根据史料分析,丑角艺术的正式形成始于宋代杂剧中的副末,而它的发展及完善则是随着整个戏曲的发展而逐渐形成的,在其发展的历史进程中培育出京剧的著名丑角代表人物如:刘赶三、王长林、肖长华,昆曲的杨鸣玉,豫剧的高兴旺,高甲戏的柯贤溪等一代又一代名师。 把舞台戏曲搬上荧屏是近20年的事。如何借助现代科学技术、突破狭小的舞台空间、把戏曲丑角活灵活现的表演进行电视化处理,从而把戏迷们从剧场里吸引到荧屏前,对于电视戏曲导演来说一直是一个严峻的考验。以重念白和表演刻划人物戏路较宽的文丑为例;文丑中既有头戴官帽、脚穿朝方、身着官衣或蟒袍的朝廷官员或下层官吏的袍带丑如:《审头刺汤》中的汤勤,《七品芝麻官》中的唐成,《徐
Traditional opera is one of the most popular forms of Chinese literature and art in the country. It is an indispensable and important component of the television literature and art collective. As an important act of Chinese opera - the clown, it is for its unique artistic charm is loved by people. Harlequin, also known as “Sanhua face” or “little face”, from the emperor to phase five to eight, with the role of play comedy character. In the Chinese traditional drama stage, no matter the role of the harlequin in Beijing Opera, Kunqu Opera, Pingju Opera, Hebei Bangzi, Henan Opera, Han Opera and other plays. Therefore, in the Pear Orchard there are “no ugly no play” argument, we can see that ugly art occupies a high position in the history of drama in our country. According to the historical analysis, the formal formation of the clown art began in the composing of the composing of the Song Dynasty, and its development and improvement gradually formed with the development of the whole drama. In the course of its development, the famous harlequin of Beijing opera Representatives such as: Liu rush three, Wang Changlin, Xiao Changhua, Kunming’s Yang Mingyu, Henan opera boom, Kejiaxi high armor and other generations of famous teacher. It is nearly 20 years to bring stage drama to the screen. How to use the modern science and technology to break through the small stage space and televise the performers of the opera clown to attract the fans from the theater to the screen has been a severe test for the TV drama directors. Taking re-reading and performing sculptures of characters and scripts with wide narration as an example, both the ugly and the ugly are dressed in bureaucratic or python robes, officials of the court or lower officials: Thorn soup “in the Tang Qin,” seven sesame official “Tang Cheng,” Xu