探析戏师在藏戏中的核心地位  

The Core Status of Opera Master in Tibetan Opera

作　　者：李宜[1] 

机构地区：[1]西藏民族大学文学院,陕西咸阳712082

出　　处：《西藏民族大学学报（哲学社会科学版）》2018年第4期58-62,共5页Journal of Xizang Minzu University：Philosophy and Social Sciences Edition

基　　金：国家社科基金重点项目"藏戏剧目文本研究"(项目号:16AZW017)的阶段性成果

摘　　要：戏师是藏戏中的核心人物。他不但负责传授藏戏艺术,管理演出事务,而且对剧本进行二度创作,并通过说"雄"来掌控藏戏演出节奏、演出时间和调控演出气氛,体现出藏戏独特的演出形态及藏族说唱文学对藏戏艺术的深刻影响。戏师以自己场下、场上的努力促进了藏戏艺术的传承和发展。The opera master is the core of Tibetan opera troupe. They are responsible for not only the instruction of Tibetan opera and management of the troupe, but also the recreation of the script and the control ofpace, time and atmosphere of the performance through Gzhung. They are the soul of the inheritance and protec-tion of the Tibetan opera. The opera master's Gzhung reflects the unique performance forms of the Tibetan operaand the influence of Tibetan's telling and singing literature on it. It also has significant research value on thestudy of the evolution process of Han nationality's traditional Chinese opera from telling and singing style to first person narrator style.

关 键 词：藏戏 戏师 核心地位 

分 类 号：J825[艺术—戏剧戏曲]