| 净脚小考 |
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| 引用本文： | 谭美玲.净脚小考[J].华南师范大学学报(社会科学版),2003,2(2):53-57. |
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| 作者姓名： | 谭美玲 |
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| 作者单位： | 中山大学,中文系,广东,广州,510275 |
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| 摘 要： | 古典戏剧中脚色装扮,配以上场时的搬演程式,都有助台下的观众了解脚色,容易投入搬演的故事之中。净脚在元杂剧中所扮演的都是负面人物,非故事主角;但净脚在戏剧滥筋之初的参军戏中本是主角,可扮演正面和负面人物。发展到元杂剧它却有如此大的改变,从后赵至唐朱元之间,净脚的扮演性质经过一定程度的改变。
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| 关 键 词： | 净脚 参军戏 宋杂剧 院本 元杂剧 扮演性质 |
| 文章编号： | 1000-5455(2003)02-0053-05 |
| 修稿时间： | 2002年9月2日 |
A Study of Painted Face Character |
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| by TAN Mei-ling.A Study of Painted Face Character[J].Journal of South China Normal University(Social Science Edition),2003,2(2):53-57. |
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| Authors: | by TAN Mei-ling |
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| Institution: | by TAN Mei-ling |
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| Abstract: | The masquerade and acting pattern that the characters act with, are very important in the classical Chinese opera. It helps the audience understand the story and the character's reenacting. "Jing", refers to the painted face character in the opera of Yuan comedy, which always played the role of the villain .But originally, "jing " refered to the main character of the military officers in the later Zhao dynasty's opera. It might be the decency or the villain before the Yuan dynasty. It had undergone so many changes through those years from the Tang to the Yuan dynasty. This essay attempts to synthesize the points of the predecessor scholars so as to find out the changing track of "jing". |
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