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dc.contributor.author徐蔚
dc.date.accessioned2017-11-14T02:32:43Z
dc.date.available2017-11-14T02:32:43Z
dc.date.issued2006-06-30
dc.identifier.citation戏剧(中央戏剧学院学报),2006,(02):50-60
dc.identifier.issn1003-0549
dc.identifier.otherXJZZ200602006
dc.identifier.urihttps://dspace.xmu.edu.cn/handle/2288/151248
dc.description.abstract男旦曾是中国古典演剧史上的重要现象。20世纪早期话剧舞台中的男旦既为传统的性别串演注入新意,也隐伏着戏剧表演体系与反串传统疏离的先兆。男旦艺术群体的鼎革使京剧男旦逐渐逾越其他行当并臻于极盛。梅兰芳两度访日并赴美访苏,成为现代西方戏剧认识中国戏剧乃至东方戏剧文化的桥梁,其海外影响颇受国人注意。然而,随着“写实主义”艺术风格被绝对化,加之女旦群体的浮现,男旦艺术终趋式微。
dc.description.abstractMale Dan once played an important part in the history of the classic Chinese operas. Actors playing female roles on the “spoken" drama stage in the early 20~ th century cast new lights on the tradition of cross-gender casting and foreshadowed the development of “spoken" drama acting different from the traditional operatic acting. The success of male dans in Beijing Opera marked the apogee of this acting tradition. Mei Lanfang's visits to Japan, the Soviet Union and the United States opened a window for the Western theatrical artists to Chinese theactrical art. His influence abroad drew much attention from his compatriots. The art of male dan became obsolete, when realism came to dominate the stage with the result that the dan roles were taken over by actresses.
dc.language.isozh_CN
dc.subject男旦
dc.subject早期话剧
dc.subject京剧
dc.subject梅兰芳
dc.subjectmale dan modern drama of earlier days Beijing Opera Mei Lanfang
dc.title二十世纪上半叶东西方文化撞击中的男旦艺术
dc.title.alternativeThe Art of Male Dan in Eastern-Western Cultural Exchangesin the Early 20~(th) Century
dc.typeArticle


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