[1]谢雨成,丁晓松,李旰鹏,等.粤剧变装中的“道袍变和尚袍”样本结构探析[J].服装学报,2024,9(04):296-301.
　XIE Yucheng,DING Xiaosong,LI Ganpeng,et al.Structural Analysis of the Sample of "Taoist Robe Transform Monk’s Robe"[J].Journal of Clothing Research,2024,9(04):296-301.
点击复制

粤剧变装中的“道袍变和尚袍”样本结构探析()
分享到：

《服装学报》[ISSN:2096-1928/CN:32-1864/TS]

卷:
第9卷
期数:
2024年04期
页码:
296-301
栏目:
服装工程
出版日期:
2024-09-12

文章信息/Info

Title:
Structural Analysis of the Sample of "Taoist Robe Transform Monk’s Robe"
作者:
谢雨成;  丁晓松;  李旰鹏;  刘 莉*
北京服装学院 服装艺术与工程学院,北京 100029
Author(s):
XIE Yucheng;  DING Xiaosong;  LI Ganpeng;  LIU Li*
School of Fashion, Beijing Institute of Fashion Technology,Beijing 100029, China
分类号:
TS 941.735
文献标志码:
A
摘要:
“道袍变和尚袍”是20世纪80年代出现的一种粤剧变装新形式。对广州粤剧院所藏“道袍变和尚袍”样本主体结构与衬里结构进行研究,采用数据采集、测绘和平面结构复原等手段,分析“道袍变和尚袍”的结构原理以及西式剪裁的必要性,总结样本结构改良后的优点。研究表明:“道袍变和尚袍”在整体结构上延续了粤剧戏服的传统“十”字型剪裁方法,为实现变装功能加入了“折叠衣”和“翻折袖”两种结构; 分体式裁剪有利于两种结构在“道袍变和尚袍”上的组合使用; 道袍主体结构采用西式裁剪,以增加整件戏服结构的美观性、隐秘性以及变装操作的便利性。
Abstract:
The "Taoist robe transform monk’s robe" is a new form of Cantonese opera disguise that appeared in the 1980s. By studying the main structure and lining structure of the sample "Taoist robe transform monk’s robe" in the collection of Guangzhou Cantonese Opera House, and adopting the means of data collection, mapping and planar structural restoration, we analyze the structural principle of the "Taoist robe transform monk’s robe" and the necessity of the Western style cutting, and summarize the advantages of the improved structure. The study shows that the overall structure of the "Taoist robe transform monk’s robe" continues the traditional "十" shape cutting method of Cantonese opera costumes, and adds the "fold down dress" and the "turn down sleeve" to realize the function of quick costume-change. The split cutting is conducive to the combined use of the two structures in the "Taoist robe transform monk’s robe". The main structure of the robe adopts the Western style of cutting, so as to increase the aesthetics of the structure of the whole piece of costume, the secrecy, and the convenience of the operation of quick costume-change.

参考文献/References:

[1] 丁晓松, 尤珈. 粤剧反宫装的形制与内涵分析[J]. 西部皮革, 2023, 45(21): 125-127.
DING Xiaosong, YOU Jia. Analysis of the form and connotation of Fan-Gongzhuang in Cantonese opera[J]. West Leather, 2023, 45(21): 125-127.(in Chinese)
[2] 广州市政协学习和文史资料委员会. 广州文史 第73辑 广东民间工艺史料传辑[M]. 广州: 广州出版社, 2010.10.
[3] 谢杰玲. 中华传统造物思想视域下的戏曲服饰“十”字型结构研究[J]. 纺织报告, 2021, 40(4): 85-86.
XIE Jieling. Study on the cross structure of opera costume from the perspective of traditional creation thought[J]. Textile Reports, 2021, 40(4): 85-86.(in Chinese)
[4] 孙卫明. 广州粤剧戏服[M]. 广州: 广东人民出版社, 2015.
[5] 《戏脉流芳》编辑委员会. 广州粤剧团六十年剧本选: 戏脉流芳 第1辑[M]. 广州: 广州出版社, 2012.11: 85-86.
[6] 曾石龙,《粤剧大辞典》编纂委员会. 粤剧大辞典[M]. 广州:广州出版社, 2008:493- 494.
[7] 孙佳伟.魔术快速变装的服装设计与制作[J].杂技与魔术,2022(4):62- 65.
SUN Jiawei. Costume design and production of magic fast disguise[J]. Acrobatics and Magic,2022(4):62- 65.(in Chinese)
[8] 陈心, 尹玲, 任丽红, 等. 基于CLO3D技术的戏服装扮虚拟仿真研究 ——以褶子为例[J]. 丝绸, 2022, 59(5): 50-58.
CHEN Xin, YIN Ling, REN Lihong, et al. Research on the virtual simulation of costume dressing by CLO3D virtual technology: a case study of casual coats[J]. Journal of Silk, 2022, 59(5): 50-58.(in Chinese)
[9] 钟士. 西服裁剪技法(增订本)[M]. 广州: 广东人民出版社, 1985.12.
[10] SCHOPPENHAUER S. The art of quick change[M].Hamburg: E. V?gel Gmbh, 2005:90-91.
(责任编辑:张 雪)

更新日期/Last Update: 2024-08-30