从“三刺三杀”看刺杀旦行当的表演与流变  

The performance and change of female assassin from the perspective of“three stabs and three kills”in the opera

作　　者：陈杰 CHEN Jie(College of Literature,Fujian Normal University,Fuzhou,350007,China)

机构地区：[1]福建师范大学文学院,福州350007

出　　处：《闽西职业技术学院学报》2024年第3期62-67,共6页Journal of Minxi Vocational and Technical College

摘　　要：刺杀旦是戏曲行当中旦类脚色的一种,刺杀旦这一脚色可见于昆曲与京剧。刺杀旦行当与“三刺三杀”六个折子戏关系密切,“三刺”即《一捧雪·刺汤》《铁冠图·刺虎》《渔家乐·刺梁》,“三杀”即《义侠记·杀嫂》《水浒记·杀惜》《翠屏山·杀山》。六个折子戏展现出两种罕见的舞台人物形象,一种是行刺复仇的女刺客,另一种是与刀剑血污相联系的“荡妇”。刺杀旦行当在表演上具有独特的人物表演特色与穿戴特色,在舞台上的做工类型兼容文工与武工二种,这些新的创制为戏曲脚色的发展提供了补充。由贴旦、小旦发展到武小旦再到刺杀旦的这一行当发展过程,可视为戏曲行当发展细化的一个缩影。“Female assassin”is a type of female role in the opera industry,which can be seen in Kunqu Opera and Peking Opera.It is closely related to the six folding plays with assassination as the theme,namely“three stabs and three kills”.The six plays show two rare characters on the stage,one is the female assassin who carries out revenge,and the other is the slut who is associated with the blood of the sword.In the performance,the female assassin has unique character performance characteristics and wearing characteristics,and the workmanship on the stage is compatible with literary and martial arts.This new creation may provide a supplement for the development of opera character.The development process of female assassin can be regarded as a microcosm of the development of opera industry.

关 键 词：“三刺三杀” 刺杀旦 脚色 昆曲 

分 类 号：I207.329[文学—中国文学]