二人转的旦角艺术是同戏曲的旦角艺术相对存在的,二人转的旦角艺术又是同二人转中的丑角艺术相对存在的,正是在这种对应关系中,二人转的旦角艺术形成了自己的品格,体现出自己独到的神韵,确立了“有旦才有转”的地位。在二人转里,“千军万马,就是咱俩”。旦与丑是以相互的存在为条件的。没有旦,就没有丑。反之,也是一样。旦与丑相辅相成,相得益彰,缺一不可。但是,两者之间却不是旗鼓相当、平分秋色的,大多总是旦角处于主导地位。这么说,有什么根据吗?有。首先,剧目的主人公以女性居多。在传统的二人转剧目中,反映女性生活命运、表现男女爱情的剧目占了多数。在新编和反映当代生活的剧目中,以女性为主人公或表现 The two-man art of Danjiao is relatively the same as the art of Danjiao of the same opera. The Danjudian art of the two people is relative to the art of Harlequin in the turn of the two. It is in this correspondence that the Danjudian art formed by the two men formed their own character, Out of their own unique charm, established the “once there is only turn” status. In the two turn, “all-powerful forces, that we two.” Dan and ugly are based on the existence of each other as conditions. No den, there is no ugly. On the contrary, the same is true. Dan and ugly complement each other, complement each other, are indispensable. However, the two are not equally well-matched and equally divided, and they are always in the dominant position. So what is the basis? First of all, the hero of the play is mostly female. In the traditional duo repertoire, the drama that reflects the fate of women and shows the love between men and women accounts for the majority. In the new series and reflect the contemporary life of the repertoire, the female hero or performance