本文選題：動(dòng)畫(huà)表演實(shí)質(zhì) + 動(dòng)畫(huà)表演特點(diǎn)��； 參考：《浙江師范大學(xué)》2014年碩士論文

【摘要】：動(dòng)畫(huà)表演藝術(shù)不同于影視表演和戲劇表演藝術(shù),有其自身的獨(dú)特性。動(dòng)畫(huà)表演是一部動(dòng)畫(huà)作品的靈魂,只有通過(guò)表演,動(dòng)畫(huà)角色才能被賦予生命與活力,個(gè)性與情感。沃爾特.迪士尼曾說(shuō)：“動(dòng)畫(huà)只有獲得生命力與性格時(shí),它才能被觀眾認(rèn)同,并為之感動(dòng)。”[1]可見(jiàn)表演對(duì)一部動(dòng)畫(huà)作品的重要性。然而,目前表演在國(guó)內(nèi)動(dòng)畫(huà)作品中表現(xiàn)力還較為薄弱,直接影響了本土動(dòng)畫(huà)的創(chuàng)作水平,究其原因在于對(duì)動(dòng)畫(huà)表演缺乏較為系統(tǒng)的認(rèn)識(shí)和較為深入的研究。 本文打破以往只從技法方面研究動(dòng)畫(huà)表演的途徑,通過(guò)將其與影視表演、戲劇表演等相關(guān)藝術(shù)的比較分析來(lái)探討動(dòng)畫(huà)表演的實(shí)質(zhì)、特征、創(chuàng)作元素、創(chuàng)作思路及實(shí)用技巧。并通過(guò)引用大量實(shí)例,論述了動(dòng)畫(huà)表演中有關(guān)劇本編排、角色形象塑造、動(dòng)作設(shè)計(jì)、影視思維、戲劇元素等方面內(nèi)容,并積極尋找能引發(fā)觀眾情感共鳴的表現(xiàn)形式和實(shí)用技巧。 第一章緒論主要介紹了本課題的研究背景、研究現(xiàn)狀、研究方法及思路、研究成果及創(chuàng)新點(diǎn),是本文研究的起點(diǎn)。 第二章將動(dòng)畫(huà)表演與戲劇表演、影視表演等相關(guān)藝術(shù)進(jìn)行比較分析,并結(jié)合動(dòng)畫(huà)自身的特征得出動(dòng)畫(huà)表演的實(shí)質(zhì)與特點(diǎn),為動(dòng)畫(huà)表演藝術(shù)創(chuàng)作的研究提供一個(gè)基礎(chǔ)。 第三章著重從動(dòng)畫(huà)表演的相關(guān)創(chuàng)作元素,分別是動(dòng)畫(huà)表演創(chuàng)作的劇本元素、角色元素、動(dòng)作元素、影視元素、戲劇元素五個(gè)方面進(jìn)行深入研究,力求客觀全面地探索出影響動(dòng)畫(huà)表演效果的幾個(gè)方面,進(jìn)而在創(chuàng)作實(shí)踐時(shí)綜合考慮,使其全面為動(dòng)畫(huà)表演藝術(shù)創(chuàng)作服務(wù)。 第四章著重探討了動(dòng)畫(huà)表演的創(chuàng)作思路,提出動(dòng)畫(huà)表演創(chuàng)作中角色作為個(gè)性化的生命體,需要?jiǎng)?chuàng)作者對(duì)其進(jìn)行深入地構(gòu)思,才能找到最能體現(xiàn)其個(gè)性的表現(xiàn)形式。并結(jié)合實(shí)例,總結(jié)出一些實(shí)用技巧來(lái)指導(dǎo)創(chuàng)作實(shí)踐。 本論文對(duì)動(dòng)畫(huà)表演藝術(shù)創(chuàng)作的研究,始終將動(dòng)畫(huà)表演與其他表演藝術(shù)相比較,并結(jié)合動(dòng)畫(huà)自身的特征,從一種客觀、多維而又有內(nèi)在邏輯的角度進(jìn)行論述。通過(guò)對(duì)動(dòng)畫(huà)表演藝術(shù)創(chuàng)作的研究,為今后的動(dòng)畫(huà)創(chuàng)作實(shí)踐提供理論依據(jù)。希望此課題能起到拋磚引玉的作用,引起動(dòng)畫(huà)創(chuàng)作者對(duì)動(dòng)畫(huà)表演藝術(shù)的足夠重視,不斷提升本土動(dòng)畫(huà)的藝術(shù)創(chuàng)作水平。
[Abstract]:The animation performance art is different from the film and television performance and the drama performance art, has its own uniqueness. Animation performance is the soul of an animated work. Only by performing, can animated characters be endowed with life and vitality, personality and emotion. Walter. Disney once said: "Animation can only be recognized and moved by the audience if it gains vitality and character." [1] the importance of acting to an animated work can be seen. However, at present, the performance in the domestic animation works is still relatively weak, which directly affects the level of the creation of local animation, the reason lies in the lack of a more systematic understanding of animation performance and more in-depth research. This paper breaks the way of studying animation performance only from the technique aspect, and discusses the essence, characteristics, creative elements, creative ideas and practical skills of animation performance by comparing it with the related arts such as film and television performance, drama performance and so on. Through quoting a large number of examples, this paper discusses the script arrangement, character image shaping, action design, film and television thinking, drama elements and other aspects in animation performance, and actively seeks the expression form and practical skills that can arouse the emotional resonance of the audience. The first chapter mainly introduces the research background, the present situation, the research method and the thought, the research achievement and the innovation point, which is the starting point of this paper. The second chapter makes a comparative analysis of animation performance, drama performance, film and television performance and other related arts, and draws the essence and characteristics of animation performance according to the characteristics of animation itself, which provides a foundation for the research of animation performing art creation. The third chapter focuses on the animation performance from the relevant creative elements, respectively, animation performance of the script elements, role elements, action elements, film and television elements, drama elements five aspects of in-depth research, This paper tries to explore several aspects that affect the effect of animation performance objectively and comprehensively, and then consider comprehensively in the creative practice, so as to make it fully serve for animation performing art creation. The fourth chapter focuses on the creative ideas of animation performance, put forward that the role in animation performance creation as a personalized living body, need the creator to deeply conceive, in order to find the best expression of its personality. And combined with an example, summed up some practical skills to guide creative practice. In this paper, the study of animation performing art creation, always compare animation performance with other performing arts, and combine the characteristics of animation itself, from an objective, multidimensional and internal logic point of view. Through the animation performance art creation research, provides the theory basis for the animation creation practice in the future. I hope this topic can play a role in drawing the fire, causing animation creators to pay enough attention to animation performing art, and constantly improve the level of local animation art creation.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 詹秦川;唐婷婷;馬Pr遠(yuǎn);;探討影視動(dòng)畫(huà)表演的三大創(chuàng)作元素[J];電影評(píng)介;2012年02期

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本文編號(hào)：1964961