豫剧名丑牛得草表演艺术研究

发布时间：2018-05-03 11:37

本文选题：豫剧 + 丑角　；参考：《延边大学》2011年硕士论文

【摘要】：本文以牛得草表演艺术为对象,分别从绪论、牛得草的艺术人生、牛得草的表演艺术和牛得草表演艺术的美学特征—丑而不丑、丑中见美四个方面进行了论述。在本文在绪论当中,论述了本课题的缘起是因为目前理论界对牛派艺术研究的缺失,其目的是通过牛得草表演艺术研究,从理论的高度审视牛得草表演艺术,使其牛派艺术发扬光大,同时对目前理论界牛派艺术研究的缺失也是一种弥补。除此之外,绪论中还写了本课题研究的现状和研究所用的方法。在第二章中,主要通过牛得草从艺的经历和牛得草的艺术成就两个方面来写。其中从艺经历分别从牛得草流浪黄河畔、在丑角领域初露锋芒和经历波折与辉煌三个方面来写。牛得草的艺术成就主要包括创立牛派、其作品的重要地位、牛得草在戏曲教学方面的贡献以及在创设新腔、剧本整理方面的贡献。在第三章中,主要分析了牛得草的表演艺术。分别从唱腔、念白和身段动作表演进行叙述。其中牛得草的唱腔特征表现在：在唱腔中,注重不同板式的变化运用和多种装饰音的巧妙使用；在演唱方法上注重鼻音的运用及大本嗓和二本嗓的巧妙结合；此外,唱词中常常加入丰富的衬词,使唱腔更为流畅。其念白特征主要表现幽默风趣。滑稽搞笑的身段表演不仅完美地表现了人物形象,而且也展示出丑角中“丑”的一面。从中可以看出,无论是唱腔、念白,还是身段动作表演,形象地表现人物的同时,也凸显着幽默滑稽的特质。在第四章中,主要是从美学层面对牛得草表演艺术的美学特征—丑而不丑、丑中见美,进行解读。其主要包括两大部分：一是“丑而不丑、丑中见美”美学特征的形成原因分析,在此写了中西方审丑历程的演变过程,由最初的审“美”阶段,到承认“丑”阶段,再到审“丑”阶段,说明了人们的审美不再局限在“美’上,而注重“美”与“丑”的统一。另外,牛得草之所以形成“丑而不丑,丑中见美。的品格特质,除了萧长华老师的指导,还受到豫剧观众群体的审美需求和动荡的社会环境的影响。第二部分是从视觉、听觉,以及所扮演的人物形象三个方面解读了牛得草表演艺术的美学特征,即“丑而不丑、丑中见美。” 最后为本文的结论部分,主要是对本文观点的概括与总结。
[Abstract]:This article takes Niu Decao performing art as the object, respectively from the introduction, the Niu Decao art life, the Niu Decao performance art and the Niu Decao performance art esthetics characteristic-ugliness but not ugliness, ugliness sees the beauty in four aspects to carry on the discussion. In the introduction of this paper, the author discusses the origin of this subject because of the lack of research on the art of Niu School in the theoretical circle at present, the purpose of which is to examine the performing art of Niu Decao from the perspective of theory through the study of performing art of Niu Decao. It also makes up for the deficiency of the research of Niu School art in the theoretical circle at the same time. In addition, the introduction also writes about the present situation of the research and the methods used in the research. In the second chapter, mainly through Niu Decao from the experience of art and the artistic achievements of Niu Decao two aspects to write. One from the art experience from Niu Decao wandering along the Yellow River, in the field of clowns, and experienced twists and turns and brilliant three aspects to write. Niu Decao's artistic achievements mainly include the creation of Niu School, the important position of his works, the contribution of Niu Decao in the teaching of opera, and the contribution of creating a new tune and arranging the script. In the third chapter, it mainly analyzes Niu Decao's performing art. Respectively from the singing, read white and body movement performance to describe. Among them, Niu Decao's singing features are shown as follows: in singing, attention is paid to the use of variations in different forms and the clever use of various decorative sounds; in singing methods, attention is paid to the use of nasal sounds and the clever combination of large and second voices; in addition, Singing words often add rich contrast words to make the singing more fluent. Its reading white features mainly show humor and humor. The funny performance not only perfectly shows the character, but also shows the ugly side of the clown. It can be seen that, whether singing, reading white, or body movement performance, the image of the characters, but also highlights the funny characteristics of humor. In the fourth chapter, the aesthetic characteristics of Niu Decao's performing art are mainly analyzed from the aesthetic level-ugliness but not ugliness, ugliness and beauty. It mainly includes two parts: first, the aesthetic characteristics of "ugliness but not ugliness, ugliness see beauty" are analyzed, and the evolution of the course of appreciation of ugliness between China and the West is written, from the initial stage of reviewing "beauty" to the stage of admitting "ugliness". At the stage of judging ugliness, it shows that people's aesthetics is no longer confined to "beauty", but the unity of "beauty" and "ugliness" is emphasized. In addition, Niu Decao formed "ugly and not ugly, ugliness see beauty." Besides the guidance of Xiao Changhua, the character of Henan opera is influenced by the aesthetic needs of the audience and the turbulent social environment. The second part interprets the aesthetic characteristics of Niu Decao's performing art from three aspects of vision, hearing, and character image, that is, "ugliness but not ugliness, ugliness sees beauty in ugliness". The last part is the conclusion of this paper, mainly the summary and summary of the views of this paper.
【学位授予单位】：延边大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J825

【参考文献】