CAJ | 학술논문

侗戏丑角是一个独特的、值得关注的现象,其意义超出了戏剧本身。侗戏丑角主要有动作丑角和情节丑角两种类型,动作丑角跳出了“细脖子阳人”的特性,是为戏俗生成中的关键要素;情节丑角在完整的行动中展示了民族的个性特征,是为戏之生成的核心因素。两类型丑角都显现出生活化的去程式的共同趋向,使侗戏成为富于生活情趣的喜剧艺术形式,从中可体验一个弱小民族的文化创造路径的同时,也可体验其以戏乐生的养心智慧。
동희축각시일개독특적、치득관주적현상,기의의초출료희극본신。동희축각주요유동작축각화정절축각량충류형,동작축각도출료“세발자양인”적특성,시위희속생성중적관건요소;정절축각재완정적행동중전시료민족적개성특정,시위희지생성적핵심인소。량류형축각도현현출생활화적거정식적공동추향,사동희성위부우생활정취적희극예술형식,종중가체험일개약소민족적문화창조로경적동시,야가체험기이희악생적양심지혜。
Clowns in the Dong opera is a unique phenomenon that deserves attention as their significance even goes beyond the opera itself. Clowns fall into two categories of action clowns and plot clowns. The former is called ＂the thin-necked living people ＂. featured by the action of jumping, and is the key to the formation of drama tricks; while the latter presents the ethnic personalities and characteristics by the whole behaviors, which is the core for the plot development. Both the two categories of clowns show a common life-ormnted tendency for deconventionalization and make the Dong opera an artistic form of comedy which is full of delights of life. When appreciating the cultural creation by a weak ethnic minority, the audience may also experience the delight and wisdom in the opera