中国戏剧戏曲表演中对于动情点的诠释及其处理
发布时间：2018-10-09 20:47
【摘要】： 本文以戏剧戏曲表演过程中的动情点为研究对象,首先论述了情感存在于中国传统戏剧戏曲艺术的客观原因。对包括中国文人情感因素对于传统文学情感特征的影响和传统文学对于戏剧戏曲创作的影响进行了例证分析,认为戏剧戏曲创作不可缺少地融入了丰富的情感因素。其次本文还对戏剧戏曲表演中的什么是动情点进行了诠释,并对动情点的形成原理和过程进行了论述。浓缩情感的动情点存在于文学创作的开始、结束于舞台创造的结束,是戏剧戏曲作品引发观众共鸣的基础,是表演过程中众多因素共同作用的结果。这对于我们在理解动情点的基础上更好的进行艺术表现和艺术创造提供的必要的基础。文章又采用大篇幅内容重点对动情点展现的多种影响因素进行了详细的论述,其中包括了角色体验、舞台动作、声音运用三个方面的论述。文章最后通过对戏剧三度创作中的情感表现和动情对戏剧生存、发展的作用的论述,将戏剧戏曲的情感过程与戏剧戏曲自身发展过程联系在一起。通过以上方面的论述,文章不仅对中国戏剧戏曲发展过程中情感融合的脉络进行了分析,更重要的是通过分析动情点的形成因素和完成动情过程的内在要求,对于即将或已经参加编、导、演的艺术工作者了解和掌握戏剧作品情感表现的过程,提高作品感染力等方面,提供了丰富的参考和借鉴。中国的戏剧艺术是个复杂的艺术系统,关于戏剧戏曲方面的研究也是多种多样的,本文的创新之处在于对于戏剧戏曲表演“动情点”这一概念的提出,以及对于如何在表演中诠释和处理动情点进行的联想式启发。 在本文的论述创作过程中,采取了观察法、文献研究法、比对发、归纳法、调查法等研究方法,文章在内容表述与观点论述方面可能还有欠妥之处,望老师多给予指正。
[Abstract]:This paper takes the emotional point in the process of drama performance as the research object, and first discusses the objective reasons why emotion exists in Chinese traditional drama art. This paper analyzes the influence of Chinese literati's emotional factors on the traditional literature's emotional characteristics and the traditional literature's influence on the drama and opera creation. Secondly, this paper interprets what is estrus in drama and drama, and discusses the formation principle and process of estrus. The estrous point of concentrated emotion exists at the beginning of literary creation and at the end of stage creation. It is the basis of the audience resonance caused by drama and opera works and the result of many factors acting together in the process of performance. This provides the necessary basis for better artistic expression and artistic creation on the basis of understanding the emotional point. The article also discusses in detail the influence factors of estrus, including role experience, stage action and voice application. Finally, through the discussion of the emotional expression and the effect of emotion on the survival and development of drama, the article links the emotional process of drama with the development process of drama itself. Through the above discussion, the article not only analyzes the context of emotion fusion in the development of Chinese drama, but also analyzes the forming factors of estrous point and the internal requirements of the estrus process. It provides a rich reference for the artists who will or have participated in editing, directing and acting to understand and master the process of emotional expression of drama works, and to improve the appeal of the works. Chinese dramatic art is a complex art system, and there are many kinds of researches on drama and drama. The innovation of this paper lies in the concept of "emotional point" in drama and drama performance. And how to interpret and deal with the emotional point in the performance of associative inspiration. In the process of writing this article, we adopt the methods of observation, literature research, comparison, induction, investigation and so on. There may still be some defects in the content expression and viewpoint discussion of the article, so I hope the teacher will give more advice and correction.
【学位授予单位】：哈尔滨师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J812
[Abstract]:This paper takes the emotional point in the process of drama performance as the research object, and first discusses the objective reasons why emotion exists in Chinese traditional drama art. This paper analyzes the influence of Chinese literati's emotional factors on the traditional literature's emotional characteristics and the traditional literature's influence on the drama and opera creation. Secondly, this paper interprets what is estrus in drama and drama, and discusses the formation principle and process of estrus. The estrous point of concentrated emotion exists at the beginning of literary creation and at the end of stage creation. It is the basis of the audience resonance caused by drama and opera works and the result of many factors acting together in the process of performance. This provides the necessary basis for better artistic expression and artistic creation on the basis of understanding the emotional point. The article also discusses in detail the influence factors of estrus, including role experience, stage action and voice application. Finally, through the discussion of the emotional expression and the effect of emotion on the survival and development of drama, the article links the emotional process of drama with the development process of drama itself. Through the above discussion, the article not only analyzes the context of emotion fusion in the development of Chinese drama, but also analyzes the forming factors of estrous point and the internal requirements of the estrus process. It provides a rich reference for the artists who will or have participated in editing, directing and acting to understand and master the process of emotional expression of drama works, and to improve the appeal of the works. Chinese dramatic art is a complex art system, and there are many kinds of researches on drama and drama. The innovation of this paper lies in the concept of "emotional point" in drama and drama performance. And how to interpret and deal with the emotional point in the performance of associative inspiration. In the process of writing this article, we adopt the methods of observation, literature research, comparison, induction, investigation and so on. There may still be some defects in the content expression and viewpoint discussion of the article, so I hope the teacher will give more advice and correction.
【学位授予单位】：哈尔滨师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J812
【相似文献】
相关期刊论文 前10条
1 赵杨波;我对戏剧美的认识[J];剧作家;2005年04期
2 李钢生;;我对戏剧美的认识[J];黄梅戏艺术;2007年03期
3 祁丹;试论戏剧的观赏性与戏剧的产业化[J];戏剧文学;2004年01期
4 王思佳;;谈戏剧的动情点[J];剧作家;2009年06期
5 侯志平;;剧本创作的“动情点”刍议[J];戏剧文学;2003年01期
6 冯文炳;谈艺术形式[J];吉林大学社会科学学报;1963年01期
7 胡应明;;“泛戏剧”时代的到来——我之大戏剧观[J];广西社会科学;1990年04期
8 陈善明;运用舞台技术创造戏剧美[J];剧影月报;2005年02期
9 臧吉瑜;;捕捉动情点——促使学生写出真情实感之法[J];语文学刊;2008年16期
10 周居方 ,刘孝礼;我们是怎样编创《让历史告诉未来》的[J];当代电视;1987年05期
相关会议论文 前6条
1 毕sツ，
本文编号：2260737
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2260737.html
