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傩,是我国珍贵的文化遗产。傩戏是傩祭之后的余兴节目,表演者戴上面具之后即刻成为神灵,脱下面具还原为人。傩戏是一种假面艺术,时至今日傩戏表演大部分仍然是内容上的神鬼剧,形式上的假面剧。傩面具已有数千年的历史,它不仅表达了驱鬼避邪、祈福纳吉、除病消灾的主题,还经历了从原始神灵崇拜到娱神、娱人的变化,具有宗教和民间艺术的特征。同时,傩面具还为当代艺术创作者带来了无限的灵感和启迪。文章以傩戏、傩面具为切入点,以话剧《伏生》《秀才与刽子手》、肢体剧《1971》为例,重点论述傩面具在当代戏剧中的运用。傩面具不仅丰富了当代戏剧的文化内涵和表现手段,还能够提升艺术高度,使当代戏剧更具观赏性与民族性品格。
傩, is China’s precious cultural heritage. Nuo opera is a cabaret after the offerings, the performers immediately after the masks to become gods, take off masks restored to man. Nuo opera is a masked art, most of today Nuo opera performances are still the content of the god ghost drama, the form of masquerade.傩 mask has thousands of years of history, it not only expresses exorcism, prayer Najib, in addition to disease and disaster elimination theme, but also from the original worship of God to entertainment, entertainment changes, with religious and folk art features . At the same time, the mask also brings immense inspiration and enlightenment to contemporary art creators. The essay focuses on the drama and the mask and takes the drama “Vs.” “Scenario and Executioner” and “1971” as an example. It focuses on the use of mask in contemporary drama. The mask not only enriches the cultural connotation and means of expression of contemporary drama, but also enhances the artistic height and makes the contemporary drama more ornamental and nationalistic.