戏剧舞台面部化妆术的发展(1921—1949年)  

The Development of Facial Makeup on the Stage of Chinese Theater (1921-1949)

作　　者：陈晓[1] 

机构地区：[1]南京大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2018年第2期110-117,共8页Drama:The Journal of the Central Academy of Drama

摘　　要：在中国戏剧舞台艺术的发展历程中,20世纪20-40年代面部化妆术的理论成果发挥着极其重要的历史功用。以"爱美剧"为开端,油彩化妆术的出现成为面部化妆实践的重要转折。遵循着写实与个性的原则,面部化妆术20世纪30年代达到理论成熟,并持续影响着后世戏剧舞台艺术的发展:化妆理念以多学科为基础,成为舞台艺术的重要组成部分;化妆品及辅助性化妆工具的门类更加清晰,品种愈加复杂;化妆程序从经验化走向科学化,化妆的技术空间显著扩大。The art of facial make-up from the 1920s to the 1940s is regarded to bear historical significance in the development of Chinese stage art. It began with the work of Amateur Society, where oil paint make-up became a milestone. In the 1930s, theories of facial make-up technique, which follows the principle of combining realistic skills and artistic individual tastes, matured and has since asserted long-lasting influence on the development of stage art of drama. From then on, facial make-up concepts, which is based on multiple subjects, has become a crucial element of stage art. Cosmetics and assistant accessories have abounded and diversified with more categories. The procedure has changed from empirical to scientific. The technology space of stage make-up has been considerably expanded.

关 键 词：面部化妆 舞台艺术 戏剧理论 

分 类 号：J81[艺术—戏剧戏曲]