戏曲史视域中的女丑形象  

Images of Female Comedians in the History of Traditional Chinese Opera

作　　者：潘超青[1] Pan Chaoqing

机构地区：[1]厦门大学海外教育学院,福建厦门361005

出　　处：《南开学报（哲学社会科学版）》2020年第4期113-120,共8页Nankai Journal:Philosophy,Literature and Social Science Edition

基　　金：国家社会科学基金重大项目(17ZDA242)。

摘　　要：作为最古老的戏剧形象,女丑根源于久远的巫觋文化,随着戏剧从宗教仪式向通俗文艺发展而逐步形成角色类型,稳定地以一种诙谐形象出现在各种戏剧作品中。宋元时期是女丑确立为形象类型的关键时期,在蓬勃的市民文化的影响下,宋杂剧的诙谐意趣和脚色规约赋予女性形象诙谐化的特征,使之具有迥异于正统女性文艺形象的审美风貌和超常规的文化力量。这种力量既来自丑作为"戏神"的超然地位,也反映出女性意识与市民文化结合过程中更积极、主动的选择。而民间文化自由、狂放的特质也被凝聚在女丑形象中,使之成为日益悬殊的两性文化格局中富有特殊意味的典型形象。As one of the oldest images in traditional Chinese opera, female comedians were rooted in the long standing culture of witches and wizards. With the development of traditional opera from religious rituals to popular art, types of roles for female comedians gradually appeared, predominantly as humorous figures in various operas. Furthermore,the periods of the Song and Yuan Dynasties were a critical time for female comedians to be established as types of roles.Influenced by the prevailing civic culture, female figures were characterized with humor in the traditional opera of the Yuan Dynasty which differed as a cultural force from orthodox female figures. Such a kind of cultural force came from the supernatural position of female comedians as"opera goddesses"and reflected the active and passive choice in the integration of female awareness and civic culture. Female comedians embodied freedom and openness in civic culture and became typical images in the social structure of genders.

关 键 词：戏曲史 女丑 宋元时期 市民文化 

分 类 号：J809.2[艺术—戏剧戏曲]