戏曲男旦装扮二题  

Two Kinds of Dress-up for Female Characters Disguised by Male Performers(Nan-dan)in Chinese Operas

作　　者：崔淑晓 CUI Shuxiao(School of Chinese Language and Literature,Hubei University,Wuhan,Hubei 430072,China)

机构地区：[1]湖北大学文学院,湖北武汉430072

出　　处：《贵州大学学报（艺术版）》2022年第4期100-102,共3页Journal of Guizhou University Art Edition

基　　金：国家社科基金重大招标项目“《全清戏曲》整理编纂及文献研究”(项目编号:11&ZD107)。

摘　　要：男旦是传统戏曲在特定历史时期的产物。头、足装扮是男旦最重要的化装。昆曲的高跟履、闽男旦的自幼蓄发为男旦的自然表演提供了帮助,此二种装扮比魏长生所创的跷、梳水头早出现半个多世纪。Female Characters disguised by male performers(Nan-dan)are the product of the traditional opera in a specific historical period.For these male performers,the dress-up of head and feet is the most important makeup that can facilitate their natural performance as female characters,such as the high-heeled shoes in Kunqu Opera and the long hair growing from the early age in Min Opera.These two kinds of dress-up emerged more than half a century earlier than the stilts and opera headdresses created by WEI Changsheng.

关 键 词：男旦装扮 高跟履 自幼蓄发 

分 类 号：J815[艺术—戏剧戏曲]