明代男旦体制的确立  

Establishment of the System of Male Dan in the Ming Dynasty

作　　者：徐蔚[1] 

机构地区：[1]莆田学院中文系

出　　处：《浙江艺术职业学院学报》2011年第2期17-22,共6页Journal of Zhejiang Vocational Academy of Art

基　　金：国家社科基金艺术学项目<男旦:性别反串--中国戏曲特殊文化现象研究>(项目编号:08CB60)阶段成果;福建省高等学校新世纪优秀人才支持计划资助

摘　　要：男旦在古典演剧史上由来已久,明代南曲诸声腔并起,旦色男扮成为剧坛主流。以潘之恒为代表的曲品家推崇表演的内在神韵,倡扬重情的旦脚审美观,引领着戏曲表演与男旦艺术雅致化趋势,树立了明清以来文人衡量昆剧男旦艺术的美学标杆。Male dan once played an important part in the history of traditional Chinese opera.The system of male dan was not completely established until the late Ming dynasty.Critics represented by Pan Zhiheng pay more attention to the inner charm of the performance and advocated the aesthetic standard of faithful love,leading the trend of elegancy of performances and male dan art in traditional Chinese opera.The aesthetic standard to evaluate the male dan art of kunqu opera by literati was established in the Ming and Qing dynasties.

关 键 词：男旦 潘之恒 神韵 重情 雅致 

分 类 号：J[艺术]