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文章编号:1672-3104(2013)06-0183-04 |
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中国戏曲“随处作场”表演方式的特征 |
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王雯 |
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(江汉大学武汉语言文化研究中心,湖北武汉,430056) |
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摘 要: 作为中国戏曲最一般的表演形式,随处作场诞生于戏曲的萌发时期,并一直延续到后世。其特征是表演过程的流走性、演出场合的流动性以及童子功搬演的自由性。随处作场是形成戏曲审美特征的现实基础,决定了戏曲舞台是没有指向性的、具有极大自由度的“空场子”。 |
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关键词: 随处作场;空场子;表演过程;演出场合;童子功搬演;戏曲审美特征 |
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On Performing Anywhere Tradition in Chinese Opera |
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WANG Wen |
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(Institute of Wuhan Language and Literature, Jianghan University, Wuhan 430056, China) |
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Abstract: During its development, Chinese opera has gradually formed the characteristics of wandering performance, place mobility and freedom of boy power performance, which determined that Performing Anywhere is the realistic basis of Aesthetic features of Chinese opera. Performing Anywhere also decides the stage with non-object-oriented space and offers a great degree of freedom. |
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Key words: Performing Anywhere; Empty Place; Aesthetic |
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