摘要
新形态的二人转表现出"丑"化表演的趋势,这使得二人转的"丑"的审美意义从"传统"的丑走向了"狂欢"的丑。在"狂欢"成为二人转的精神内核后,二人转更加肆无忌惮地在丑角表演上通过"定型、变形、还原动物"三种表演方式,建构了形体怪诞丑角、行为怪诞丑角,艺术地完成着狂欢、对话、调剂等舞台功能。
New forms of Er.-ren-zhuan show ＂ugly＂ trend in performances, which makes its ＂ugly＂ aesthetic signifi- cance turned fl＇om the ＂＇traditional＂ to ＂carnival＂. After the ＂Carnival＂ has become the spiritual core, Er-ren-zhuan con- struets physical grotesque clown, action weird clown, and artistically completes carnival, dialogue, swap and other stage functinns by ,lore lckless in clown performances with ＂stereotypes, deformation and reducing animal＂ these three kinds of acting types.
出处
《地方文化研究》
2013年第5期92-98,共7页
Local Culture Research
基金
吉林省社会科学基金项目"东北二人转文化产业研究"(编号2012B120)阶段性成果
关键词
丑角
狂欢
丑化表演方式
定型
变形
舞台功能
Clown
Carnival
Ugly trend performance style
Finalize the design
Distortion
Stage function
