文化人类学视野下的京剧乾旦艺术解构  

The Deconstruction of Qiandan Art in Peking Opera from the Perspective of Cultural Anthropology

作　　者：袁小松 帅懿芯[3] YUAN Xiao-song;SHUAI Yi-xin(College of History and Ethnic Culture,Guizhou University,Guiyang,Guizhou,550025;Guizhou Institute of Technology,Guiyang,Guizhou,550001;Center for Mental Health Education and Psychological Counseling,Guizhou University,Guiyang,Guizhou,550025,China)

机构地区：[1]贵州大学历史与民族文化学院,贵州贵阳550025 [2]贵州理工学院,贵州贵阳550001 [3]贵州大学心理健康教育咨询中心,贵州贵阳550025

出　　处：《贵阳学院学报（社会科学版）》2018年第5期114-117,共4页Journal of Guiyang University:Social Sciences

摘　　要：从文化人类学的视角深入解构京剧乾旦艺术,可以发现其包含有丰富的性别人类学、符号人类学、象征人类学、两性同体主义等方面的深刻内涵。厘清这些内涵,有助于理性看待当今社会关于京剧乾旦艺术的存废扬抑之争。By destructing Qiandan art of Peking Opera from the perspective of cultural anthropology,it contains profound connotation about gender anthropology,symbolic anthropology,and androgyny.Distinguishing the relations among them will be helpful to understand the problem of evolution for the existence and depression of the Qiandan art in Peking Opera nowadays.

关 键 词：文化人类学 京剧 乾旦 艺术 

分 类 号：J821.2[艺术—戏剧戏曲]