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中国古代戏曲的化妆,与早期人类的“雕题文身”、“点涅其面”等习俗有关,亦与古代由来已久的以脂粉涂面的生活习俗密切相关。但宋金元杂剧的化妆更多地受到有着独特传统的粉墨涂面的俳优化妆的影响,统称“抹土搽灰”。析言之,宋杂剧的化妆,有涂抹粉墨、涂抹青红、抹跄或八字墨线贯眼;金代杂剧中,副净或副末的化妆直承宋代而来,并有所变化,有八字墨线贯眼、乌嘴、灰面、白面、白眼圈、红唇与红上眼皮;元杂剧的化妆在总体上仍然保持了与宋金杂剧一致的风格,不外白粉涂面、青紫白黑相间、八字墨线贯眼、搽炭等,同时开始出现假髯。概言之,宋金元三代的化妆已形成一定的程式,“脸谱化”的化妆业已出现;除了副净或副末有花扮之外,其他演员大都是俊扮;特别是“假髯”的使用,对于古代戏曲化妆有着重要意义。
The makeup of ancient Chinese opera is related to the custom of “carving the title” and “point of nirvana” of the early mankind. It is also closely related to the ancient custom of using powder coated face. However, the make-up of the Song and Jin Yuan drama is influenced more by the unique makeup of the traditional ink painting. In other words, the make-up of the Song Zaju, there are smear pink ink, smear green, wipe or character ink line through the eyes; the Jin Dynasty, vice net or deputy makeup straight from the Song Dynasty, and some changes, there are Eight-character line of ink, Wu Mian, gray surface, white flour, white eye circles, red lips and red upper eyelids; Yuan Zaju makeup in general still maintain the same style with the Song Jin Zaju, nothing more than white powder coated, black and white White, black and white line of ink, paint charcoal, etc., at the same time began to appear false 髯. In short, the makeup of the Song, Jin and Yuan Dynasties has formed a certain program, “make-up” makeup has emerged; in addition to the deputy net or vice, there are other actors are mostly played Jun; especially "Use, for the ancient opera make-up is of great significance.