摘要
粤剧反宫装是具有变装特性的特色戏服,也是粤剧舞台的舞蹈表演程式之一。文章通过实地调研、二重证据法来研究反宫装的定义、历史溯源、形制特点等,并结合反宫装的舞台表演效果,探究其审美内涵。研究表明,粤剧反宫装的形制保留帔衣和宫装的部分形制、图案充分体现吉祥、美好的寓意;反宫装的审美内涵体现在其变装特性上,可增加舞台神秘效果,推动剧情发展。
Fan-Gongzhuang in Cantonese opera is a characteristic costume with cross-dressing characteristics,and is also one of the dance performance programs on the stage of Cantonese opera.Through field research and the two-fold evidence method,we study the definition,historical origin,and form characteristics of Fan-Gongzhuang,and explore the aesthetic connotation of Fan-Gongzhuang by combining its stage performance effects.The study shows that the form of Fan-Gongzhuang in Cantonese opera retains part of the form of cape and palace costume,and the pattern fully embodies the auspicious and beautiful symbolism;the aesthetic connotation of Fan-Gongzhuang is reflected in its cross-dressing characteristics,which increases the mysterious effect of the stage and pushes forward the development of the plot.
作者
丁晓松
尤珈
DING Xiaosong;YOU Jia(Beijing Institute of Fashion Technology,School of Fashion Arts and Engineering,Beijing 100029,China)
出处
《西部皮革》
2023年第21期125-127,共3页
West Leather
基金
北京服装学院研究生科研创新项目“粤剧反宫装研究及在现代服装上的创新运用”(NHFZ20230071)。
关键词
粤剧
戏服
审美内涵
Cantonese opera
costume
aesthetic connotation
作者简介
第一作者:丁晓松(1999.10-),女,汉族,江西九江人,北京服装学院研究生,研究方向为服装设计与创新,2326127579@qq.com。
