20世纪前期京剧男旦表演的艺术特征

The Artistic Features of Male Dan Performance in Early 20th Century

男旦在中国古典演剧史上由来已久。清末民初,伴随着京剧的发展、鼎盛,男旦艺术日臻成熟。20世纪上半叶,以"四大名旦"为代表的男旦群体刷新了明清以来戏曲表演的新篇章。评论者与京剧名旦总结了男旦表演的三个艺术特征:一,注重揣摩女性心理是男旦反串表演的契入点;二,男扮女角的精髓在于创造比真实性别更凝练、优美与典型的女性特质;三,反串表演的上乘境界是提摄跨性别扮演的尺度,重在体现艺术的自然之致。而厘清舞台与生活的界限,则是男旦塑造"自然"之女性必须把握的另一维度。

The late Qing Dynasty and early Ming Dynasty witness the development and great prosperity of Peking Opera, and the male dan performing reaches into its perfection. In the first half of the 20th century, the Peking Opera group represented by ＂the four great dan＂ unfolded a new chapter of Chinese opera show ever since Ming and Qing dynasty. The critics, as well as male dan actors summarize three artistic features： First, figuring out female＇s psychology prudentially being the starting point of the opposite sex acting; Second, the essence being the self-shaping for more concise, beautiful and typical female images; Third, the perfection of opposite sex acting being defining the boundary of cross-gender performing, mainly focusing on reflecting the nature of art. To clarify the border between stage and the real life is the other dimension that male dan actors have to notice.