白剧服饰造型研究  

Study on the Modeling of Bai Opera Costumes

作　　者：吴侠[1,2] WU Xia(the Department of Stage Art,Central Academy of Dra-ma;Television Studies,Central Academy of Drama,Beijing,100009.)

机构地区：[1]中央戏剧学院舞台美术系 [2]中央戏剧学院,北京100009

出　　处：《民族艺术研究》2020年第6期38-43,共6页Ethnic Art Studies

摘　　要：白剧由吹吹腔戏和大本曲剧合流而成,决定了白剧形成之初就继承了二者的艺术基因。因此舞台上的白剧服饰,既有雄壮浓彩的官样“程式化”袍冠,也有质朴鲜活的民间“短打”衣帽。60年来,白剧的舞台服饰造型回应着其剧目的创作和舞美的发展而不断丰富和流变,从“效仿中原的移植”到“官野并行的嫁接”,再到“清新秀美的创造”,逐步形成了民族风情、表演要求和舞台审美相得益彰的独特风格。白剧艺术的发展不仅可以被看作是中国少数民族文化发展的微观缩影,而且还是其民族服饰生态构建的重要组成部分,具有“记录”“示范”和“传承”三项极其重要的文化学意义。Bai Opera is a combination of the Chuichuiqiang opera and the Dabenqu opera,which determines the fact that Bai Opera inherited the artistic genes of the two at the beginning.Thus,costumes of Bai Opera include not only the splendid“stylized”robes and crowns,but also the simple and vivid folk“short clothes”.Over the 60 years,the costumes of Bai Opera have changed in response to the creation of Bai Opera and the development of stage art.From“the transplantation of Central China”to“the official-public grafting”and then to“the delicate and pretty creation”,Bai Opera gradually formed a unique style where ethnic customs,performance requirements and stage aesthetics complement one another.The development of Bai Opera can not only be seen as a microcosm of the development of Chinese minority culture,but also an important part of the construction of ethnic costumes ecology.It has three crucial culturology meanings,including“record”,“demonstration”and“inheritance”。

关 键 词：少数民族剧种 白剧 服饰造型 文化学意义 

分 类 号：J825[艺术—戏剧戏曲]