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中国戏曲在形成之初汲取过艺丐习俗中的表演性元素。丐帮的“祖师爷”伍子胥就是个具有艺术才能的历史名人。宋代民间演艺“打野呵”、陶真、莲花落,都与丐俗有千丝万缕的联系。昆曲剧目《绣襦记》表现了儒、丐两个社会阶层的流动及其蕴含的社会心理;京剧《红鸾禧》金玉奴棒打薄情郎的故事,则反映了丐帮的拐梃崇拜。历代丐俗正是从形式与内容两个方面,渗透并影响戏曲的。
Chinese opera at the beginning of the formation of art beggars learned from the performance of the elements. Beggar’s “ancestral home ” Wu Zixu is a celebrity with artistic talent. Folk performing in the Song Dynasty “playing wild Oh ”, Tao true, lotus falls, all with countless beggar inextricably linked. Kunqu Opera “Embroideries” show the flow of Confucianism and beggar and their social psychology; the story of Beijin Nuojiao, a playwright from Peking opera, reflects the beggar worship. It is from the two aspects of form and content infiltration and influence drama.