论邵阳布袋戏中“开台”的功用及审美特性  

Functions and Aesthetic Features of Stage Opening in Shaoyang Glove Puppetry

作　　者：刘海潮[1] 

机构地区：[1]湖南科技大学艺术学院,湖南湘潭411201

出　　处：《长江师范学院学报》2013年第3期20-24,133,共6页Journal of Yangtze Normal University

基　　金：教育部人文社会科学研究青年基金项目"湖南邵阳布袋戏研究"(10YJC760043);"湖南省方言与民俗文化研究基地"资助项目

摘　　要：邵阳布袋戏的开台作为该艺术整体音乐表演中不可分割的重要组成部分,是该戏曲种类在演出过程中不可忽视的一个必要的表演环节。它不仅对该艺术的演出具有重要的作用,而且也作为独立的器乐表演存在,体现出丰富的民族音乐色彩和审美特性,也体现出民间艺人民族性的音乐审美观。这里从剖析"闹台"这一戏剧概念词出发,对邵阳布袋戏的"开台"在该艺术表演中的位置和重要作用进行论述,并进而论证了邵阳布袋戏的"开台"所具有的审美特性。As an inseparable part in the whole musical part of glove puppetry, stage opening is a step that cannot be ignored in similar performances of traditional Chinese opera. Not only does it play an important role in the performances but also it embodies rich musical colors and aesthetical features as an independent instrumental music performance. Besides, it is an embodiment of musical aesthetics of folk musicians. Starting from the concept of stage frolicking, the writer of this article explores and analyzes the position and functions of the stage opening in the performance of Shaoyang glove puppetry and expounds on its aesthetical features.

关 键 词：邵阳布袋戏 开台 闹台 审美 

分 类 号：G65[文化科学—教育学]