摘要
"清客"本非戏曲的专属名词,它因于昆曲清唱传统的存在而引入。相较于"清客","串客"一在登台扮演、一在业余参与。以内涵言,"串客"强调的是业余演剧人员的舞台表演技能及其非职业的身份特征;"票友"亦非对"串客"的简单沿用,它除却与传说中的"龙票"有关外,最初或当是一个略带贬义又暗含一定自嘲色彩的主观性词汇,该词的出现重在突显这一业余群体对待戏曲艺术的戏谑态度。
"Qingke", originally not a term for traditional Chinese operas, was introduced to operas from Kunqu and was noticed for participants' performing on stage. On the other hand, "Chuanke" was noted for participants' performing as amateurs, and was emphasized the performing skills as well as the identity as amateurs. In addition to "Longpiao", "Piaoyou" was originally a derogatory term containing certain subjective color and self-mockery, that also highlights a burlesque attitude of the amateurs to the performing of traditional operas.
出处
《戏剧(中央戏剧学院学报)》
CSSCI
北大核心
2016年第4期36-46,共11页
Drama:The Journal of the Central Academy of Drama
基金
2012年度国家社科艺术学青年项目"清末民国戏曲票友研究"(项目编号:12CB070)的阶段性成果
关键词
清客
串客
票友
关系
演变
Qingke, Chuanke, Piaoyou, relationship, evolvement