【摘要】：成都大皮影產(chǎn)生于晚清,處于中國(guó)皮影發(fā)展的最后一個(gè)階段,是一種從鄉(xiāng)村發(fā)展到城市,經(jīng)過(guò)改造服務(wù)于市民,并伴隨川劇而走向輝煌的都市影戲,具有演出場(chǎng)所固定、受眾面廣、影人大等特點(diǎn)。此外,成都大皮影還具有戲畫(huà)交融的表演特點(diǎn),用皮影小戲演繹川劇大戲,面向市民,戲劇化程度高,直到今天仍具有獨(dú)特的藝術(shù)魅力和審美現(xiàn)代性。對(duì)成都大皮影進(jìn)行創(chuàng)意開(kāi)發(fā),主要可通過(guò)博物館展出與表演相結(jié)合的活態(tài)呈現(xiàn)、政府宣傳突出地域文化特色以及遠(yuǎn)離現(xiàn)代工業(yè)的皮影表演市場(chǎng)培育等路徑。
[Abstract]:The big shadow of Chengdu originated in the late Qing Dynasty and was in the last stage of the development of Chinese shadow. It was a kind of urban film play which developed from the countryside to the city, served the citizens through the transformation, and accompanied by the Sichuan opera and went to the glory. It had a fixed performing place. By a wide audience, film people and other characteristics. In addition, Chengdu shadow still has the performance characteristic of the combination of drama and painting, using shadow small drama to deduce the Sichuan opera, facing the citizen, the dramatization degree is high, still has the unique artistic charm and the aesthetic modernity to this day. The creative development of the big shadow in Chengdu can be carried out mainly through the living presentation of the combination of the museum exhibition and the performance, the publicity of the government to highlight the regional cultural characteristics and the cultivation of the shadow show market far from the modern industry, and so on.
【作者單位】： 成都體育學(xué)院;
【基金】：文化部文化藝術(shù)科學(xué)研究項(xiàng)目“最后的影戲:晚清以降成都大皮影的百年興衰”(項(xiàng)目編號(hào):15DB10) 四川省社科規(guī)劃項(xiàng)目“非遺視角下四川燈影戲與川劇的文化淵源研究”(項(xiàng)目編號(hào):SC14B009) 成都市哲學(xué)社會(huì)科學(xué)項(xiàng)目“成都大皮影的審美現(xiàn)代性及開(kāi)發(fā)價(jià)值研究”(項(xiàng)目編號(hào):2015R22) 四川省教育廳哲社重點(diǎn)項(xiàng)目“四川皮影的巴蜀文化特質(zhì)及文化市場(chǎng)的開(kāi)發(fā)途徑研究”(項(xiàng)目編號(hào):15SA0079)的研究成果
【分類(lèi)號(hào)】：J827

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