本文選題：舞臺(tái)語(yǔ)言技巧 + 人物形象塑造�。� 參考：《吉林藝術(shù)學(xué)院》2017年碩士論文

【摘要】：戲劇表演是一種舞臺(tái)藝術(shù)的基本表現(xiàn)形式,在戲劇表演的眾多組成要素當(dāng)中,語(yǔ)言是極為重要的,舞臺(tái)藝術(shù)語(yǔ)言技巧是戲劇表演表現(xiàn)力以及感染力的主要承載形式。戲劇表演中人物形象的刻畫以及故事情節(jié)的逐步深入更是需要借助語(yǔ)言的交流,如果想讓戲劇表演被更多觀眾所認(rèn)可,就必須使其語(yǔ)言更有魅力更大眾化,但是作為一種藝術(shù)的表現(xiàn)形式,戲劇表演的語(yǔ)言還要經(jīng)過(guò)表演者的二度創(chuàng)作,使其更適于在舞臺(tái)上表演。本文首先介紹了舞臺(tái)藝術(shù)語(yǔ)言技巧在戲劇表演中的重要性,從舞臺(tái)語(yǔ)言的構(gòu)思,氣息、重音、停頓、語(yǔ)調(diào)運(yùn)用上來(lái)分析戲劇表演舞臺(tái)語(yǔ)言的表演技法和技巧。其次談到舞臺(tái)藝術(shù)語(yǔ)言推動(dòng)人物形象的塑造,劇本所給表演者舞臺(tái)藝術(shù)語(yǔ)言技巧的基本內(nèi)容,包括戲劇情景、人物關(guān)系、人物性格、規(guī)定情境等進(jìn)行分析。表演者怎樣從劇本中所獲取舞臺(tái)藝術(shù)語(yǔ)言技巧的精華部分,更好的發(fā)揮創(chuàng)作,讓其舞臺(tái)藝術(shù)語(yǔ)言更加的具有魅力,更純粹的讓廣大觀眾去接受并欣賞你的演出,基于此上我做的更多的是從舞臺(tái)藝術(shù)語(yǔ)言角度去看待人物角色的表演問(wèn)題。作為演員斯琴高娃的作品有話劇《大宅門》、《月牙兒》里的角色,還有熱播的電視劇《大宅門》中剛毅的二奶奶、《康熙王朝》中的威嚴(yán)的孝莊太后,她還獲得了在我國(guó)最高的演員獎(jiǎng)項(xiàng)金雞獎(jiǎng)和百花獎(jiǎng)最佳女演員的殊榮,還有現(xiàn)在熱播的節(jié)目《朗誦者》中也有優(yōu)秀的表演,可見(jiàn)斯琴高娃對(duì)于表演藝術(shù)的熱衷。可以說(shuō)其每次創(chuàng)作,每部作品,都會(huì)給觀眾帶來(lái)異樣的驚喜與感悟,之所以取得很高的成就不僅是因?yàn)槠鋵?duì)表演技巧的積累與探索,更因?yàn)槠洹耙晳蛉缑钡膽B(tài)度。文中結(jié)合斯琴高娃的表演藝術(shù)來(lái)論析,探討舞臺(tái)藝術(shù)語(yǔ)言技巧的運(yùn)用以及推動(dòng)戲劇表演中人物形象的塑造。
[Abstract]:Theatrical performance is a basic form of expression of stage art. Among the many elements of theatrical performance, language is extremely important, and the language skills of stage art are the main bearing forms of expression and appeal of theatrical performance.The portrayal of characters and the gradual deepening of the storyline in the theatrical performance need the help of the communication of language. If we want the drama to be accepted by more audiences, we must make the language more attractive and popular.However, as an artistic expression, the language of theatrical performance has to go through the second creation of performers to make it more suitable for performing on stage.This paper first introduces the importance of stage art language skills in theatrical performance, and analyzes the performance techniques and techniques of stage language from the perspective of stage language conception, breath, stress, pause and intonation.Secondly, it discusses the basic content of the stage art language skills, including the drama scene, the relationship between characters, the character character, the prescriptive situation and so on, and analyzes the basic content of the stage art language skills of the stage art language, which is promoted by the stage art language.How can the performer get the best part of the stage art language skills from the script, better display the creation, make its stage art language more attractive, let the audience accept and appreciate your performance more purely?Based on this, I do more from the perspective of stage art language to look at the performance of characters.As actor Scheingova's works include the characters in the drama "House Gate", the characters in "the Moon", the strong-hearted second grandmother in the popular TV series "the House Gate," and the majestic Empress of Xiaozhuang in "the Kangxi Dynasty."She also won the Golden Rooster and 100 Flower Best Actress awards in our country, as well as excellent performances in the popular show recitation, showing Scheingova's passion for performing art.It can be said that every time he creates and works, he will bring strange surprises and feelings to the audience. The high achievement is not only because of his accumulation and exploration of acting skills, but also because of his attitude of "watching the play as his life".This paper discusses the application of language skills of stage art and the shaping of characters in theatrical performances in combination with Schegawa's performing art.
【學(xué)位授予單位】：吉林藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J912;J824

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 肖先明;;論《哈姆雷特》的戲劇美學(xué)精神[J];蘭州學(xué)刊;2014年12期

2 陳元峰;;張彭春的戲劇美學(xué)思想[J];湖南工程學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2014年02期

3 肖鷹;;以夢(mèng)達(dá)情:湯顯祖戲劇美學(xué)論[J];文藝研究;2013年08期

4 張仲年;;簡(jiǎn)論戲劇導(dǎo)演美學(xué)[J];云南藝術(shù)學(xué)院學(xué)報(bào);2010年03期

5 朱玲;;談生活語(yǔ)言與舞臺(tái)語(yǔ)言[J];傳奇·傳記文學(xué)選刊(理論研究);2010年07期

6 陳平原;;中國(guó)戲劇研究的三種路向[J];中山大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2010年03期

7 舒也;;布萊希特美學(xué)問(wèn)題探疑[J];浙江大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2008年01期

8 梁燕麗;;質(zhì)樸戲劇的美學(xué)和方法初探[J];戲劇(中央戲劇學(xué)院學(xué)報(bào));2006年04期

9 張望;;瓦格納戲劇美學(xué)概述[J];戲劇(中央戲劇學(xué)院學(xué)報(bào));2006年04期

10 葉廷芳;含淚的笑——論迪倫馬特的戲劇美學(xué)特征[J];同濟(jì)大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2005年02期

，

本文編號(hào)：1762449