【摘要】：如何扮演動(dòng)物是中國(guó)戲曲舞臺(tái)美術(shù)中頗為重要之問(wèn)題。中國(guó)戲曲舞臺(tái)上扮演動(dòng)物的造型手段主要有面具、"套頭"、"形兒"、"簪形"、臉譜和"磕腦"等6種,其中"形兒"主要用于扮演真的動(dòng)物,"簪形"主要用于人與動(dòng)物之間的置換。這些造型手段的演變大致遵循著從寫(xiě)實(shí)到寫(xiě)意、便于操控的脈絡(luò),體現(xiàn)于從動(dòng)物面具到動(dòng)物臉譜、從動(dòng)物"套頭"到動(dòng)物"磕腦"、從大半身"形兒"到全身"形兒"等方面。人與動(dòng)物以及動(dòng)物與動(dòng)物在舞臺(tái)上的置換,大致遵循一個(gè)原則:變幻之后的造型盡量兼顧變幻前的原形。
[Abstract]:How to play animals is a very important issue in Chinese opera stage art. In Chinese opera, there are mainly six kinds of modeling methods for playing animals on the stage of Chinese opera, such as mask, "cover", "shape", "hairpin", facial composition and "kowtow", among which "shape" is mainly used to play real animals. The "hairpin" is mainly used for the replacement between human beings and animals. The evolution of these modeling methods follows the context from realism to freehand brushwork, which is easy to control. It is embodied in such aspects as animal masks and animal faces, from animal "head" to animal "kowtow", from half body "shape" to whole body "shape" and so on. People and animals in the exchange on the stage, roughly follow one principle: the shape after the change as much as possible before the change of the original form.
【作者單位】： 南京大學(xué)文學(xué)院;
【分類號(hào)】：J813

【參考文獻(xiàn)】

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