上党梆子艺术家张爱珍及其声腔艺术简论
发布时间：2018-11-22 10:55
【摘要】：张爱珍老师是建国以来继吴婉芝、郝聘芝等上党梆子著名旦角表演艺术家之后成长起来的又一批上党梆子演员的代表,曾是“梅花奖”、“金唱片”等奖项的获得者,1988年、1993年两届的山两省人大代表,享受国务院特殊津贴。张爱珍老师在继承前辈的基础上,发展和创新了上党梆子旦角的声腔表演艺术,改变了上党梆子重须生,大嗓门唱,表演粗犷、激越,同时不可避免的存在简单、粗糙,唱腔高、尖、炸的毛病,将旦角的表演艺术推进一个新的高度,为上党梆子在当代快节奏、多元化的生活和娱乐方式下寻找出路,积极地为上党梆子走出困境贡献出了自己最大的力量。正是由于张爱珍老师掌握了艺术必须与时俱进的规律,在实践中大胆改革创新,实践引起了争论,争论活跃了思路,新的思路又推动了实践的进一步深化。三十多年来,张爱珍老师继承吴婉芝老师的表演艺术,但又没有停留在吴婉芝的唱腔艺术上,而是根据自己的心得,结合自己的自身条件和时代的要求,锐意创新,广泛吸取当地民歌、京剧、豫剧、山东枣梆等艺术养分,做到了以字行腔,以腔传情,形成了委婉缠绵,刚柔相济的“爱珍腔”,从而拓宽了上党梆子中旦角的戏路,让一个风格粗犷有余而婉转不足的上党梆子,转变为既能表现激越高昂的情绪又能演绎才子佳人,表现细语缠绵的情剧的剧种。“爱珍腔”在上党地区的广泛流传,无论是城市还是农村,老戏迷还是新观众,专家还是同行,都交口称赞,成为这个时代的宠儿,其孜孜以求的奋斗精神,在我们时代和艺术不断推陈出新的今天,对于每一个广大戏曲工作者,对于每一个戏曲演员,都有值得学习和借鉴的地方。论述和评价张爱珍的表演艺术,对其在实践中逐步形成的“爱珍腔”进行理论上的归纳和总结,并对其声腔特色予以评价,突出她对上党梆子的贡献,就显得尤为必要。 本论文旨在对张爱珍老师的艺术道路做真实的记录,对其声腔形成过程、创腔规律与声腔特色等问题做一番研究,全文共分五章。第一章对张爱珍老师的艺术道路给予详细的记录,分析其能够在戏曲艺术道路上不断成长的原因,突出其坚苦卓绝的奋斗精神,对戏曲艺术执着的信念和追求；第二章是对张爱珍老师的声腔发展历程给予介绍,以张爱珍老师的三出代表剧目为载体,代表着张爱珍老师声腔发展历程中三大步质的跨越；第三章在了解其艺术人生和声腔发展的轨迹基础上,归纳张爱珍老师新腔的创腔规律,为学习者和上党梆子的声腔艺术留下宝贵的财富,第四章总结并归纳“爱珍腔”的唱腔特色,通过创制新腔,使上党梆子的声腔艺术达到新的里程碑,突出她对上党梆子艺术的贡献：最后一章对全文进行简要的总结,并把张爱珍放在整个上党梆子历史发展的过程中,对其贡献予以定位。
[Abstract]:Teacher Zhang Aizhen is a representative of another group of Shangdang Bangzi actors who have grown up since the founding of the people's Republic of China after Wu Wanzhi, Hao Yuanchi and other famous artists performing in Shangdang Bangzi. She was the winner of the "Plum Flower Award" and "Golden Records" award. In 1988, In 1993, the two provincial deputies to the people's Congress enjoy a special allowance from the State Council. On the basis of inheriting his predecessors, Mr. Zhang Aizhen developed and innovated the vocal performing art of the Shangdang Bangzi angle, and changed the Shangdang Bangzi sound performance, which was heavy, loud, rugged and strong. At the same time, it was inevitable that there was simplicity and roughness. Singing high, sharp, fried defects, the performance of the angle to promote a new height, for Shangdang Bangzi in the contemporary fast-paced, diversified life and entertainment way of life and entertainment to find a way out, Actively for the Shangdang Bangzi out of the predicament to contribute their greatest strength. It is precisely because Zhang Aizhen grasped the law that art must keep pace with the times, that he boldly reformed and innovated in practice, and that practice has caused controversy, debate has enlivened the thinking, and new ideas have promoted the further deepening of practice. For more than 30 years, Mr. Zhang Aizhen has inherited teacher Wu Wanzhi's performing arts, but has not stopped at Wu Wanzhi's singing art, but has been determined to innovate according to his own experience, combined with his own conditions and the requirements of the times. Drawing on local folk songs, Beijing opera, Henan opera, Shandong jujube bang and other artistic nutrients, they have achieved the goal of using characters to express feelings, forming a euphemistic and soft "love precious cavity", thus widening the opera road of Shangdang Bangzi's middle Dan angle. Let a rough and graceful style of Shangdang Bangzi, transformed into both the performance of the more exalted emotions and the interpretation of talent and beauty, the performance of melodramatic love drama. The "Aizhen tune" has been widely spread in the Shangdang area, whether in cities or in rural areas, old opera fans or new audiences, experts or peers, and has become the darling of the times and its struggling spirit. In our times and the art of continuous innovation today, for each of the majority of opera workers, for each opera actor, there is a place to learn and learn from. It is particularly necessary to discuss and evaluate Zhang Aizhen's performing art, to sum up and summarize the "Aizhen cavity" which has been gradually formed in practice, and to evaluate her vocal characteristics, and to highlight her contribution to Shangdang Bangzi. The purpose of this thesis is to make a real record of Zhang Aizhen's art path, to study the formation process of his vocal cavity, the rules and characteristics of his vocal cavity, etc. The full text is divided into five chapters. The first chapter gives a detailed record of Zhang Aizhen's artistic road, analyzes the reasons why he can grow up in the art of opera, highlights his struggling spirit, and his persistent belief and pursuit to the art of opera. The second chapter is the introduction to the development of Zhang Aizhen's voice, taking the three representative plays of teacher Zhang Aizhen as the carrier, representing the three stride quality leaps in the development process of the vocality of teacher Zhang Aizhen; The third chapter, on the basis of understanding its artistic life and the track of the development of the vocal cavity, sums up the rules of Mr. Zhang Aizhen's new cavity, leaving valuable wealth for the learners and the Shangdang Bangzi. The fourth chapter summarizes and summarizes the singing characteristics of "Aizhen tune", by creating a new tune, make the vocal art of Shangdang Bangzi reach a new milestone, highlight her contribution to the art of Shangdang Bangzi: the last chapter makes a brief summary of the full text. And put Zhang Aizhen in the whole Shangdang Bangzi historical development process, to its contribution to position.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J825
本文编号：2349129
[Abstract]:Teacher Zhang Aizhen is a representative of another group of Shangdang Bangzi actors who have grown up since the founding of the people's Republic of China after Wu Wanzhi, Hao Yuanchi and other famous artists performing in Shangdang Bangzi. She was the winner of the "Plum Flower Award" and "Golden Records" award. In 1988, In 1993, the two provincial deputies to the people's Congress enjoy a special allowance from the State Council. On the basis of inheriting his predecessors, Mr. Zhang Aizhen developed and innovated the vocal performing art of the Shangdang Bangzi angle, and changed the Shangdang Bangzi sound performance, which was heavy, loud, rugged and strong. At the same time, it was inevitable that there was simplicity and roughness. Singing high, sharp, fried defects, the performance of the angle to promote a new height, for Shangdang Bangzi in the contemporary fast-paced, diversified life and entertainment way of life and entertainment to find a way out, Actively for the Shangdang Bangzi out of the predicament to contribute their greatest strength. It is precisely because Zhang Aizhen grasped the law that art must keep pace with the times, that he boldly reformed and innovated in practice, and that practice has caused controversy, debate has enlivened the thinking, and new ideas have promoted the further deepening of practice. For more than 30 years, Mr. Zhang Aizhen has inherited teacher Wu Wanzhi's performing arts, but has not stopped at Wu Wanzhi's singing art, but has been determined to innovate according to his own experience, combined with his own conditions and the requirements of the times. Drawing on local folk songs, Beijing opera, Henan opera, Shandong jujube bang and other artistic nutrients, they have achieved the goal of using characters to express feelings, forming a euphemistic and soft "love precious cavity", thus widening the opera road of Shangdang Bangzi's middle Dan angle. Let a rough and graceful style of Shangdang Bangzi, transformed into both the performance of the more exalted emotions and the interpretation of talent and beauty, the performance of melodramatic love drama. The "Aizhen tune" has been widely spread in the Shangdang area, whether in cities or in rural areas, old opera fans or new audiences, experts or peers, and has become the darling of the times and its struggling spirit. In our times and the art of continuous innovation today, for each of the majority of opera workers, for each opera actor, there is a place to learn and learn from. It is particularly necessary to discuss and evaluate Zhang Aizhen's performing art, to sum up and summarize the "Aizhen cavity" which has been gradually formed in practice, and to evaluate her vocal characteristics, and to highlight her contribution to Shangdang Bangzi. The purpose of this thesis is to make a real record of Zhang Aizhen's art path, to study the formation process of his vocal cavity, the rules and characteristics of his vocal cavity, etc. The full text is divided into five chapters. The first chapter gives a detailed record of Zhang Aizhen's artistic road, analyzes the reasons why he can grow up in the art of opera, highlights his struggling spirit, and his persistent belief and pursuit to the art of opera. The second chapter is the introduction to the development of Zhang Aizhen's voice, taking the three representative plays of teacher Zhang Aizhen as the carrier, representing the three stride quality leaps in the development process of the vocality of teacher Zhang Aizhen; The third chapter, on the basis of understanding its artistic life and the track of the development of the vocal cavity, sums up the rules of Mr. Zhang Aizhen's new cavity, leaving valuable wealth for the learners and the Shangdang Bangzi. The fourth chapter summarizes and summarizes the singing characteristics of "Aizhen tune", by creating a new tune, make the vocal art of Shangdang Bangzi reach a new milestone, highlight her contribution to the art of Shangdang Bangzi: the last chapter makes a brief summary of the full text. And put Zhang Aizhen in the whole Shangdang Bangzi historical development process, to its contribution to position.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J825
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