论折子戏对全本戏脚色的改编和重组  

The Adaptation and Rearrangement of Characters in Productions of Single Scenes

作　　者：杨伟业[1] Yang Weiye

机构地区：[1]南京大学文学院

出　　处：《戏剧艺术》2018年第4期85-92,共8页Theatre Arts

摘　　要：折子戏艺人们为细致刻画人物形象而重组全本戏脚色,这种观点似为学界常识。全本戏要求使用有限的脚色呈现大量人物与复杂剧情,而折子戏作为独立的演出单位,比全本戏拥有更多的人力资源。对全本戏脚色使用进行调整是折子戏结构本身的要求,也是脚色体制转变带来的客观要求。从《缀白裘》来看,艺人为提升演出效果,有些改编确实颇为精彩。但同时,由于艺人并不具有刻画人物的自觉,很多改编在今天看来则是令人失望的。It is scholarly consensus that characters are rearranged in productions highlighting single scenes for better characterization, while in productions of full - length plays, many characters and complicated plots are presented with limited types of operatic roles. Comparatively, more actors are also available for single - scene productions. Adjusting the characters is a consequence of the structure of single - scene productions, as well as the result of the role - type system. As is shown in Zhuibaiqiu, some performers have made applaudable adaptations to achieve better theatrical effects. However, since the performers were not consciously portraying the characters, some of their adaptations proved to be disappointing from the current point of view.

关 键 词：折子戏 全本戏 缀白裘 脚色资源 重组 

分 类 号：J80[艺术—戏剧戏曲]