“穿关”三论

Three Topics on “Chuanguan”

"穿关"是指以杂剧剧本为依据,使用造型手段将剧作者的构想具象化、可视化和舞台化。它不是被动地复刻剧本,而是立体地剖析剧中人物形象,是将演员塑造成为舞台艺术形象的工具和媒介。由于舞台塑造的有限性,只有将演员的表演交织在曲词和鼓点节拍中,才能够突破具象造型的局限并穿梭于无限的戏剧时空中。其庞大的名目体系,继承了前代杂剧演出服饰的艺术特色,包含了明代宫廷艺人自己的设计,又吸收了宫廷乐舞服饰、内廷宦官服饰之所长。"穿关"名目设计与杂剧文本的异同、"穿关"装扮与舞台表演的关系,以及"穿关"服饰名目设计的主要来源,构成其内涵考察不可或缺的三个基本论题。

"Chuanguan"refers to the use of modeling means,based on the script of Zaju,to concretize,visualize and stage the writer’s conceptions.It is not a simple copy of the script,but an all-round analysis of the characters in the play.It is a tool and medium to shape the actors into the artistic images on the stage.However,the stage modeling has its limitations.Only by interweaving the actors’performance in the lyrics and the beat of the drum can we break through the limitations of the concrete modeling and shuttle in the infinite time and space of the play.Its huge name system inherits the artistic characteristics of the costumes of Zaju performance of the previous generations,including the design of the court artists of Ming Dynasty,and absorbs the advantages of the court music and dance costumes and the inner court eunuch costumes.The similarities and differences between"Chuanguan"design and Zaju text,the relationship between"Chuanguan"design and stage performance,and the main source of costume items constitute three indispensable basic topics for its connotation investigation.