论戏曲舞蹈表演程式的艺术表现规律
发布时间：2019-06-28 09:11
【摘要】：在戏曲舞台上,演员的举手投足、一颦一笑等一切身体语言的表达,都具有一定的规范与格律,即通过程式化的身体表现方式传递出人物的情感取向、性格特征、行为寓意。戏曲舞蹈表演程式既是生活的产物,同时又被美化与舞蹈化,成为塑造舞台形象的艺术语汇。它的创造正是遵循着中国古典美学中物感论的艺术原则,通过人心对物的感知,将生活形态进行不同程度上的变形处理,并以"取神"观念贯穿其中。而在舞台表演中,它以一种舞台形象表现力极强的特殊形式,制约与规范着表演的自然性与随意性,同时又放任具有规律性的自由空间。对戏曲舞蹈表演程式的深入分析,直接作用于戏曲角色塑造的动作语汇择取与戏曲舞蹈表演的技法提升。
[Abstract]:On the stage of opera, the expression of all body language, such as raising hands and feet, smiling and so on, has certain norms and rhythms, that is, it conveys the emotional orientation, personality characteristics and behavioral implication of the characters through the stylized physical expression. The opera dance performance program is not only the product of life, but also beautified and danced, and becomes the artistic vocabulary to shape the stage image. Its creation follows the artistic principle of the theory of material perception in Chinese classical aesthetics. Through the perception of things by the people, the life form is deformed to varying degrees, and runs through it with the concept of "taking God". In the stage performance, it restricts and standardizes the naturalness and arbitrariness of the performance in a special form with strong expressive force of the stage image, and at the same time allows the free space with regularity. The in-depth analysis of opera dance performance program directly affects the choice of action vocabulary and the improvement of opera dance performance.
【作者单位】： 北京师范大学艺术与传媒学院;
【基金】：北京师范大学自主科研基金项目(skzzy2013039)的研究成果 中央高校基本科研业务费专项资金资助
【分类号】：J812.2
本文编号：2507178
[Abstract]:On the stage of opera, the expression of all body language, such as raising hands and feet, smiling and so on, has certain norms and rhythms, that is, it conveys the emotional orientation, personality characteristics and behavioral implication of the characters through the stylized physical expression. The opera dance performance program is not only the product of life, but also beautified and danced, and becomes the artistic vocabulary to shape the stage image. Its creation follows the artistic principle of the theory of material perception in Chinese classical aesthetics. Through the perception of things by the people, the life form is deformed to varying degrees, and runs through it with the concept of "taking God". In the stage performance, it restricts and standardizes the naturalness and arbitrariness of the performance in a special form with strong expressive force of the stage image, and at the same time allows the free space with regularity. The in-depth analysis of opera dance performance program directly affects the choice of action vocabulary and the improvement of opera dance performance.
【作者单位】： 北京师范大学艺术与传媒学院;
【基金】：北京师范大学自主科研基金项目(skzzy2013039)的研究成果 中央高校基本科研业务费专项资金资助
【分类号】：J812.2
【相似文献】
相关期刊论文 前10条
1 宫;我院戏曲舞蹈分院代表团访问敦克尔刻[J];戏剧艺术;2003年06期
2 李冬梅;;浅谈戏曲舞蹈的分类及其作用[J];黄河之声;2010年20期
3 郑志勇;今日戏曲舞蹈表现形式之我见[J];黄梅戏艺术;1988年04期
4 张思玉;;浅谈戏曲舞蹈与技巧的结合[J];才智;2014年14期
5 ;厦门戏曲舞蹈学校[J];中外文化交流;1997年06期
6 吴红叶;;谈戏曲舞蹈的艺术特征[J];艺术教育;2006年10期
7 何汶忠;;戏曲舞蹈艺术的研究[J];戏曲艺术;2012年01期
8 张洁;范丽丽;;戏曲舞蹈艺术的特点及规律[J];大众文艺;2013年12期
9 王永敬;试谈戏曲舞蹈的特征[J];艺术百家;1987年01期
10 宋佳良;论戏曲舞蹈的“戏剧性”特质[J];戏曲艺术;1998年01期
相关会议论文 前2条
1 苏宗仁;;何谓“跳加官”[A];中国演员（2009年第6期总第12期）[C];2009年
2 池浚;;戏里戏外,若即若离 谈梅兰芳的戏曲舞蹈[A];中国演员：2014年第1期（总第37期）[C];2014年
相关重要报纸文章 前1条
1 记者 杨蕊 实习记者 普曦 王竣;我市第二届戏曲舞蹈青年演员大赛落幕[N];玉溪日报;2010年
相关硕士学位论文 前1条
1 庞蓉;中国舞蹈与戏曲舞蹈之关系[D];山西师范大学;2013年
，本文编号：2507178
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2507178.html
