论文部分内容阅读
戏剧服饰是戏剧舞台形象塑造的重要手段。西方戏剧运用写实的手法,通过服饰的个性化差异凸显戏剧人物的独特个性;中国戏曲采用写意的方式,通过服饰的行当规制塑造类型化的舞台形象。昆曲服饰具有严格的程式性,向有“宁穿破不穿错”的守则。白先勇先生率众打造的昆曲青春版《牡丹亭》,在保持戏曲传统服饰基本面貌的同时,拓展了戏曲服饰的艺术功能,更新了戏曲服饰的设计理念,体现了戏曲服饰新的美感。该剧的成功既为戏曲服饰服务现代舞台提供了新思路,又为昆曲的现代传承提供了重要范例。
Theater costumes are an important means of shaping the image of theater stage. Western drama uses realistic techniques to highlight the unique personality of the dramatis personae through the personal differences of costumes. Chinese opera adopts the freehand way of shaping the genre-shaped stage image through the costume regulations. Kunqu Opera costumes have a strict programmatic, to have “Ning piercing not wearing the wrong ” code. While maintaining the basic features of the traditional opera costumes, the opera “The Peony Pavilion” of Kunqu Opera, which was created by Mr. Bai Xiangyong, expanded the artistic functions of opera costumes and updated the design concepts of opera costumes, reflecting the new beauty of opera costumes. The success of this drama not only provided new ideas for the modern stage of drama and costume service, but also provided an important example for the modern inheritance of Kunqu Opera.