摘要
事物之根本特征在其结构,认识中国民族戏剧的特征,关键在于把握其结构体制──脚色制。从生成机理看,生、旦、净、末、丑的产生不纯是一种因陋就简,而是在更深层面上反映了中国人朴素的宇宙观念。由生、旦、净、末、丑等各门脚色共同构成的脚色制,决定了中国戏剧的各个方面。它决定了中国戏剧场上表演的规范性,是演员扮饰和道具使用的根本依据,决定了中国戏剧的排场结构和班社结构,也决定了中国戏剧的“戏点”,亦即看点。
The key to understand the features of Chinese national theatre is to understand its structural system. From their genetic mechanism, sheng, dan, jing, mo, and chou are not merely an economy of making do with whatever is available, but at a deeper level reflect the theatrical ideology of the Chinese people. Constituted by the roles of sheng, dan, jing, mo, and chou, the role-play system formalized the dramatic performance in Chinese theatre, not only providing the actors and actresses with given make-ups and props, but to a greater extent formulating the connotations of climax of Chinese plays, and even exerting an indispensable influence upon the structures of pageantry and troups.
出处
《文艺研究》
CSSCI
北大核心
2006年第5期86-94,共9页
Literature & Art Studies
