传统二人转从诞生起，就定义为中國东北农民底层人的精神文化产品，基于这个立 场，就已在题材和内容层面颠覆了中国戏曲传统。本文通过对东北二人转与中国传统戏曲 的比较，对二人转艺术的内容、表演形式以及本体属性进行了研究。在此基础上，阐述了 二人转在发展过程中对中国戏曲传统的反叛。我们认为，东北二人转属于中国戏曲的一个 门类。在思想内容上，中国二人转并不遵循中国戏曲文化传统的道德约束，表现为对传统 秩序和道德的挑战。在艺术表现上具备虚拟、程式化等中国戏曲基本特征。但其鲜明的地 域文化特色使其不断突破中国传统戏曲的固有框架。在内容和主题上，东北二人转突破了 传统戏曲的道德约束和文化审美观。在艺术表现形式上，大胆写实，强调互动，颠覆了传 统戏曲的固定表演模式。二人转对传统戏曲的反叛与革新，其主要目的就是为了自身的生 存与发展。

By comparing the Northeast “Errenzhuan” with Chinese traditional opera, this paper studies the content, performance form and ontological attributes of the ”Errenzhuan“ art. On this basis, it expounds Errenzhuan's challenge against Chinese opera traditions in the development process. We believe that ”Northeast Errenzhuan“ belongs to a category of Chinese opera.In terms of ideological content, the Chinese Errenzhuan does not follow the moral constraints of the Chinese traditional opera culture, and manifests itself as a challenge to the traditional order and morals.In terms of artistic expression, it possesses the basic characteristics of Chinese operas such as fictitiousness and stylization. However, its distinctive regional cultural characteristics make it constantly break through the inherent framework of traditional Chinese opera. In terms of content and theme, ”Northeast Errenzhuan“ broke through the moral constraints and cultural aesthetics of traditional opera. In terms of artistic expression, boldly realistic and emphasizing interaction, overturning the fixed performance mode of traditional opera. The main purpose of ”Erren Zhuan“ for the challenge and innovation of traditional opera is for its own survival and development. 저

1. 引言
2. 内容上的挑战
    1) 对戏曲传统的道德挑战
    2) 对传统戏曲的文化挑战
3. 形式上的挑战
    1) 对虚拟精神的挑战
    2) 对程式化的挑战
    3) 对传统戏曲时空概念的挑战
4. 本体的挑战
    1) 综艺化的表演形式
    2) 被市场化的艺术挑战
    3) 二人转艺人的角色挑战
5. 结语
【참고문헌】
【논문초록】

• 李金恂(조선대학교 부교수) | 이금순