本文選題：京劇　切入點(diǎn)：發(fā)聲　出處：《中國(guó)藝術(shù)研究院》2010年碩士論文　論文類型：學(xué)位論文

【摘要】： 本論文從醫(yī)學(xué)生理學(xué)的角度進(jìn)行了京劇老生演員的發(fā)聲的科學(xué)探索,探討了京劇老生行當(dāng)?shù)某钏囆g(shù)中,發(fā)聲的科學(xué)原理及其相關(guān)問題。該論文的作者既有學(xué)習(xí)醫(yī)學(xué)的經(jīng)歷,又有京劇舞臺(tái)表演實(shí)踐的經(jīng)歷。這樣的特殊學(xué)習(xí)背景給京劇藝術(shù)的研究提供了獨(dú)特的研究視角并且能夠從理論上給演員的舞臺(tái)實(shí)踐提供幫助。 這篇論文主要從醫(yī)學(xué)角度探討了京劇表演中發(fā)聲的過程和原理。文章先介紹了古代戲曲文獻(xiàn)關(guān)于戲曲演唱藝術(shù)所取得的理論成果以及從應(yīng)用美學(xué)方面所分析出的缺憾。然后又對(duì)京劇老生演員的發(fā)聲方法進(jìn)行概述,從靜態(tài)方面介紹了人的聲帶的構(gòu)造；從動(dòng)態(tài)方面初步介紹了人的發(fā)聲過程的原理和相關(guān)器官的作用。接著著重討論了幾個(gè)在發(fā)聲方面經(jīng)常困擾演員的難題,如倒倉(cāng)、塌中、左嗓、雌音等。并且,通過社會(huì)心理學(xué)的研究,分析了觀眾的欣賞口味的變化引起的演員演唱中的變化。文章根據(jù)老生行當(dāng)形成主流的一脈“程長(zhǎng)庚——譚鑫培——余叔巖——楊寶森”,分析他們的演唱的發(fā)聲方法逐漸產(chǎn)生的變化,以及觀眾的欣賞角度所發(fā)生的變化。從原先的實(shí)大聲宏到婉約蒼涼,再到韻味持久,再到以情動(dòng)人,這種演唱時(shí)所展現(xiàn)的不同風(fēng)格也反映出觀眾對(duì)于京劇藝術(shù)本身所提出的要求。
[Abstract]:The voice of the scientific exploration of the Peking Opera actor from the medical physiology angle, discusses the Peking Opera profession of singing art, sound scientific principle and its related problems. The authors have studied medicine experience, and stage performance of Peking Opera practice experience. This special learning background to study the art of Peking Opera provides a unique perspective and from theory to practice stage actor's help.
This paper mainly discusses from the medical point of the process and principle of vocal opera. The article first introduces the theoretical achievements of ancient drama literature opera made art and the defects analysis from the aspects of applied aesthetics. Then the voice of the Peking Opera actor overview, introduced from the static structure the vocal cords; from the dynamic initially introduces the principle and process of human vocal organs related role. Then discussed several problems, often plagued by actors in their production such as warehouse, collapse, left the female voice, tone and so on. And, through the study of the social psychology, analyses the change of audience tastes the change caused by the actors in singing. The formation of the mainstream one "Cheng Changgeng - Tan Xinpei - Yu Shuyan - Yang Baosen" according to the old business, analysis of their singing Changes in vocalization produce gradually changes, and the audience perspective. From the macro to the real loud graceful desolation, to charm lasting, to love moving, different style show this concert also reflects the audience for the Peking opera art itself requests.

【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J821

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本文編號(hào)：1595143