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作 者:陈友峰[1]
机构地区:[1]中国戏曲学院
出 处:《民族艺术研究》2016年第2期175-183,共9页Ethnic Art Studies
基 金:北京市社会科学基金资助项目"近代戏曲艺术思想的形成与演变研究"的阶段性成果(项目编号:14WYB038)~~
摘 要:"脸谱"是构成戏曲的主要审美元素之一,也是戏曲迥别于其他戏剧形态最为显著的特征之一。中国戏曲脸谱的发端和起源,与古代的巫术、原始宗教的"涂面化妆"和面具有不可分割的联系和因缘。某种程度上可以说,戏曲脸谱是在古代巫术活动和原始宗教活动中的"涂面化妆"和面具基础上演变和发展而成的。它那色彩绚丽、意蕴丰富的图案背后,隐藏着的是人类早期巫术迷信、图腾崇拜和原始宗教信仰的心理情愫;它那奇特的造型、充满想象力的构图,并没有悉却淡逝巫术活动中的涂面化妆和信仰活动中的面具痕迹,相反,却昭示了戏曲脸谱与原始巫术和原始宗教活动的不容忽视的密切联系。从脸谱的演变向度来看,单纯世俗性"戏曲脸谱"的形成并不是很早,这与戏曲成熟形态出现较晚有很大关系。在宋金时期演出的杂剧中,开始出现"涂面化妆",随着戏曲脚色行当分类的增加,呈现出日趋复杂的势头。所以,"戏曲脸谱"是伴随着戏曲人物行当出现而日益丰富和发展起来的。戏曲角色和行当的丰富性决定了戏曲脸谱的丰富性。The facial mask is one of the main elements in Chinese opera and it is one of the most distinctive characteristics from other kinds of drama. Facial mask in Chinese opera is related to the ancient witchcraft and the facial makeup and mask used in the primitive religions. To a large extent, it can be argued that the facial mask evolved and developed from the facial makeup and masks of the ancient witchcraft and primitive religious activities. Behind the colorful and comprehensive patterns of the masks are the feelings and minds the early humans had in witchcraft superstition, totem worship and primitive religious belief. The exotic and imaginative compositions of the patterns do not dilute the traces of the mask in the facial makeup and reli- gious activities; nevertheless, these compositions demonstrate a close relationship between the opera masks and the primitive witchcraft and religious activities. In regard to the direction of the change of the mask, the specific secular opera mask is not formed very early because the opera from is matured relatively late. In the Zaju (poetic drama) in the Song- Jin period, facial makeup appeared and it became diversified along with the differentiation of the role in opera. Therefore, opera masks developed with the opera figures and profes- sions which then decide the diversification of the opera masks.
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