摘要
在肉傀儡的先行研究中,孙楷第提出的“乘肩小儿说”最有影响力,但此说存在多处漏洞。肉傀儡是悬丝傀儡发展到较高水平后衍生出的一种新的傀儡戏形式,除演员替换为真人外,其他一切表演要素如舞台布置、操控手法都是对悬丝傀儡的沿袭,表演中丝系儿童双手,由艺人在幕后操控。当肉傀儡成为一种独立的傀儡戏后,它走上了自己的发展道路,牵丝从实际举动演变为模仿木偶的一种科范,并由此形成两种表演形态,一种由艺人牵丝控制小儿,一种无丝但假作有丝。最后兼谈了“鲍老”的形态,“鲍老”并非肉傀儡,它最初是一种诙谐调笑的真人舞蹈,后进入傀儡戏,多以悬丝傀儡的形式出现,这两种类型的表演风格是一致的。
Loopholes are found in Sun Kaidi’s body puppet theory,which assumes the origin of body puppet as“children riding on the shoulder”and has the greatest influence among early researches.Body puppet is a new form of puppetry derived from highly-developed marionettes.Except for the performers replaced by real people,most elements in the performance of body puppets,including stage layout and manipulating techniques,are inherited from that of marionettes.The strings are tied to children’s hands and controlled by the performers behind the scenes.The body puppet as an independent form of puppetry has evolved,with pull string changing from a physical action to a puppet-imitating pattern.Two performance forms are thus formed,one of which still have pull strings that lead performing children,and the other of which imitates the actions as if there were pull strings.The form of baolao is also discussed for a distinction from body puppets.Originally a kind of humorous dance,baolao enters puppetry and appears mostly in the form of marionettes,both of which are consistent in performance style.
出处
《戏剧（中央戏剧学院学报）》
CSSCI
北大核心
2022年第2期120-135,共16页
Drama:The Journal of the Central Academy of Drama
关键词
肉傀儡
乘肩小儿
悬丝傀儡
牵丝
鲍老
body puppet
children riding on the shoulder
marionette
pull string
baolao
