本文選題：玉卿嫂　切入點(diǎn)：茶花女　出處：《華南理工大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

【摘要】：本論文以中國舞劇《玉卿嫂》和西方舞劇《茶花女》作為研究對象,對舞劇中悲劇女性的表演藝術(shù)特征,以理論結(jié)合實(shí)踐的方法展開美學(xué)范疇的學(xué)術(shù)探討。關(guān)于舞劇,學(xué)術(shù)界并沒有統(tǒng)一的概念。一般學(xué)者從“舞蹈戲劇”的角度對舞劇進(jìn)行解釋,即“舞劇是以舞蹈為主要表現(xiàn)手段的一種戲劇形式”。作為戲劇藝術(shù)塑造人物形象是戲劇表演的根本。只有人物形象塑造的栩栩如生,才能夠真實(shí)反映人與人、人與社會之間的情感和矛盾,并可以使舞劇煥發(fā)出真實(shí)的藝術(shù)美感。在戲劇表演中,戲劇語言是塑造人物的基本手段。在舞劇中,戲劇語言就是舞蹈動(dòng)作語言。《玉卿嫂》是臺灣作家白先勇的小說代表作之一。小說的主人公玉卿嫂是一位外柔內(nèi)剛的寡婦,由于陷入了盲目的愛情之中,釀成了個(gè)人悲劇�！恫杌ㄅ肥欠▏骷倚≈亳R于1848年創(chuàng)作的一部享譽(yù)世界的文學(xué)作品,講述了女主人公瑪格麗特這位名噪一時(shí)的法國巴黎名妓一生的經(jīng)歷,并展現(xiàn)了茶花女為愛而棄愛的心碎歷程。這兩部舞劇的編導(dǎo)運(yùn)用舞蹈動(dòng)作表現(xiàn)了原著女主人公的悲劇形象,不論是玉卿嫂“博弈般”的雙人舞還是茶花女“戲中戲舞中舞”的雙人舞,都刻畫出了玉卿嫂和茶花女為愛而死的悲劇女性形象。正因?yàn)槿绱?在《玉卿嫂》與《茶花女》這兩部舞劇中,女性悲劇角色塑造的舞蹈動(dòng)作上有著相似之處。如:用快速移動(dòng)的跳躍、旋轉(zhuǎn)等舞蹈動(dòng)作再現(xiàn)主人公為愛瘋狂的特征以及用緩慢而有力的劃圈動(dòng)作、快速的旋轉(zhuǎn)動(dòng)作等舞蹈動(dòng)作再現(xiàn)主人公愛恨糾纏的特征等等。由于她們所采用的為愛而死的方式不同,造成了同樣的舞蹈動(dòng)作在表演上的差異,從而在舞臺上出現(xiàn)了兩個(gè)完全不同的為愛而死的悲劇女主人公人物形象。從舞蹈動(dòng)作入手探討舞劇《玉卿嫂》與《茶花女》中女性悲劇角色塑造的表演藝術(shù)特征,對舞劇本質(zhì)核心美的研究具有理論和實(shí)踐兩方面的價(jià)值和意義。
[Abstract]:This thesis takes the Chinese dance drama Yuqing Sisters and the Western Dance Drama Camellia Girl as the research object, discusses the characteristics of the tragic women's performing arts in the dance drama, and carries out the academic discussion of the aesthetic category with the method of combining theory with practice. There is no unified concept in the academic world. The general scholars explain the dance drama from the angle of "dance drama". That is, "dance drama is a kind of drama form with dance as the main means of expression". As a dramatic art, it is the foundation of a dramatic performance to portray the character image. Only when the character image is vivid can it truly reflect people and people. The emotion and contradiction between people and society, and can make the dance drama radiate the true artistic beauty. In the drama performance, the dramatic language is the basic means of shaping the character. In the dance play, Drama language is dance action language. "Yuqing Sisters" is one of the masterpieces of the novels of Bai Xianyong, a Taiwanese writer. The protagonist of the novel, Yuqing Sistress, is a widow who is just inside the womb and falls into blind love. In 1848 Dumas, a famous French writer, wrote a world-renowned literary work about the heroine Marguerite, the famous Paris prostitute in France. The choreographer of the two plays shows the tragic image of the original heroine by using dance movements. Whether it is the "game" double dance of Yuqing sister-in-law or the double dance of the camellia-girl "dance in the play", they all depict the tragic female image of Yuqing's wife and the camellia-girl dying for love. In "Yuqing Sisters" and "Camellia Girl", there are similarities in dance movements shaped by women's tragic characters. Dance movements such as rotation reproduce the character of the heroine as crazy as love and use slow and powerful circles. Dance movements such as rapid rotation reappear the characters of the protagonists' love and hate entanglement and so on. Because of their different ways of dying for love, the same dance movements are different in performance. There are two completely different tragic heroines who died for love on the stage. From dance movements, this paper discusses the artistic characteristics of the female tragic characters in the dance drama Yuqing Sisters and Camellia. The research on the core beauty of dance drama has both theoretical and practical value and significance.
【學(xué)位授予單位】：華南理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J733

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