《审音鉴古录》贴旦身段论——以《牡丹亭·学堂》《西厢记·佳期》为考察中心
Shenyin Jiangu Lu On Tie Dan's Posture——Based on The Peony Pavilion-School and The Romance of the West Chamber-Wedding
李阳1
作者信息
- 1. 四川师范大学 影视与传媒学院,四川 成都 610068
- 折叠
摘要
《审音鉴古录》中关于昆曲贴旦的身段记载,与后世舞台呈现相比,虽有细节、动作、表述习惯与称谓的不同,但已奠定后世昆曲表演的基础.贴旦的身段较之旦角其他家门有大开大合之处,在表演中把握精准与适度,是《审音鉴古录》在旁注中一以贯之的美学追求.贴旦身段的变化,亦要纳入舞台创作规律及戏剧史的进程中加以考量.
Abstract
When compared with its stage presentation in later generations,and although there are differences in details,movements,expression habits,and titles,Tiedan's posture in Kun Opera as it has been recorded in Shenyin J iangu Lu laid the foundation for later Kun Opera performances.Compared to other Dan roles,Tiedan's figure features great opening and closing acts,and her performance is marked by precision and moderation,which is a consistent aesthetic pursuit in the annotations of Shenyin J iangu Lu.Changes that occurred in Tiedan's posture need to be considered within the rules of stage creation and the process of Chinese opera history.
关键词
贴旦/身段/[十二红]/《春香闹学》Key words
Tiedan/Posture/Twelve Reds/Spring Fragrance and School Troubles引用本文复制引用
基金项目
国家社会科学基金年度项目(2020)(20BZW111)
出版年
2024
NETL
NSTL
万方数据