清朝关公戏装扮和道具的研究

发布时间：2018-01-25 06:38

本文关键词： 关公戏装扮与道具京剧《鼎峙春秋》　出处：《广州大学》2010年硕士论文　论文类型：学位论文

【摘要】： 关公戏的装扮和道具是关公戏这个表演系统中十分重要的一个因素。它和这个系统中的其他因素,如演员、观众等互相作用,互相制约并作用于关公戏这个表演系统。京剧形成以来,京剧的表演场所可以分为两个大类,一是宫廷演出的场所;二是民间演出的场所。关公戏的装扮和道具因演出场所不同而有所不同。关公戏的表演中什么样的装扮和道具可以进入宫廷演出,什么样的不能搬演于宫廷的舞台上,背后除了经济、历史、文化、宗教等原因外,国家权力也起到了一定的作用。京剧关公戏在清朝因涉“亵渎神灵”之嫌而屡次被禁。但是依然在当时的民间悄悄流行。民间的艺术力量超过想象,最后清朝政府不得不废除禁令并让民间的关公戏进宫表演。关公戏的装扮与道具是关公戏的最大看点,所以关公戏的老艺人一直不断改革关公戏的道具和装扮。如今的京剧舞台越来越开明,舞台技术也越来越高,但是关公戏却越来越冷清,这和京剧的特点甚至是中国戏曲的特点相关。中国京剧的审美的最高层次是听觉审美而非视觉审美。听觉审美的“留白”给观众留下了较大的想象空间,所以能流传下来的京剧剧目还是重唱功的传统剧目。
[Abstract]:The costume and props of Guan Gong Opera is a very important factor in the performance system. It interacts with other factors in the system, such as actors, audience and so on. Restrict each other and act on the performance system of Guan Gong Opera. Since the formation of Beijing Opera, the performing venues of Beijing Opera can be divided into two categories: one is the place where the court performs; The other is the place of folk performance. The costumes and props of Guan Gong Opera are different from each other. What kind of costumes and props can enter the court performance in the performance of Guan Gong Opera. What can't be done on the court stage, except for economic, historical, cultural, religious and other reasons. State power also played a certain role. The Peking Opera Guan Gong opera was repeatedly banned in the Qing Dynasty because of the suspicion of blasphemy. But it was still popular in the folk at that time. The folk artistic power exceeded imagination. In the end, the Qing government had to abolish the ban and let the folk Guan Gong perform in the palace. The costumes and props of Kuan Kung Opera are the greatest attraction of Guan Gong Opera, so the old performers of Guan Gong Opera have been constantly reforming the props and costumes of Guan Gong Opera. Nowadays, the Peking Opera stage is becoming more and more open and the stage skills are getting higher and higher. But Guan Gong's play is getting colder and colder. This is related to the characteristics of Beijing Opera and even the characteristics of Chinese opera. The highest level of Chinese opera aesthetics is auditory aesthetics rather than visual aesthetics. The auditory aesthetic "white space" left the audience with a larger space for imagination. Therefore, the Peking Opera repertoire that can be handed down is still a traditional repertoire that emphasizes singing skills.
【学位授予单位】：广州大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J809.2

【引证文献】