發(fā)布時間：2018-05-03 05:15

  本文選題：演員 + 古希臘悲劇��； 參考：《南京大學(xué)》2011年碩士論文

【摘要】：古希臘悲劇演員由酒神秘儀中的酒神頌歌隊演變而來,最初主要負責(zé)與悲劇歌隊展開對答以及朗誦個人獨白。早期演員曾由悲劇詩人兼任。隨著悲劇的發(fā)展,演員成為獨立個體,并在數(shù)量上逐漸增加�，F(xiàn)存古希臘悲劇一般由三名演員完成表演,有些演員要兼任多個角色。 公元前449年雅典在大酒神節(jié)的悲劇競賽中設(shè)立了最佳演員獎,從而開創(chuàng)了演員表演的新時期。演員的動作、聲音、服裝都成為參評的標準。悲劇演出開始作為整體出現(xiàn)在舞臺上。這一獎項的設(shè)立標志著演員受重視程度的提高,獲獎詩人與演員的名字一同刻于紀念碑上。隨著希臘古典時代的終結(jié),悲劇創(chuàng)作陷入低谷。但由于演員的不懈努力,悲劇藝術(shù)在希臘世界的影響反而逐漸擴大。許多地區(qū)建立了劇場,并培養(yǎng)出優(yōu)秀的演員。在希臘化時代,演員團體在地中海世界巡回演出,將古希臘悲劇傳播到各地。 悲劇演員在舞臺上身穿戲服、佩戴面具,除了動作與聲音,其他個人特點完全被掩蓋。優(yōu)秀演員必須具備出色的表演技巧,不僅要求聲間優(yōu)美,而且在動作模仿方面也要細膩逼真。在古希臘悲劇中,演員經(jīng)常要扮演多個角色。雖然面具與戲服的替換有助于改變形象,但由于不同角色的聲音、姿態(tài)存在差異,演員在表演中面臨許多困難。古希臘演員全部為男性,他們在扮演女性角色時會遇到同樣的問題。而他們用高超的技藝一一化解了這些難題,在史料中很少看到對演員表演的指責(zé)。 悲劇演員的面具值得特別關(guān)注。狄奧尼索斯是面具之神,在酒神節(jié)表演中面具的意義引發(fā)諸多討論。面具不僅具有宗教特征,在表演時作用也很突出。它掩蓋了表演者的真實身份,賦予其所扮角色的一些特點。面具還有助于吸引觀眾注意,能夠營造各種舞臺氣氛。在宏偉的劇場中,而具利于演員進行表演。 悲劇演員的出現(xiàn)與古希臘文化傳統(tǒng)息息相關(guān)。從克里特時代起,表演一直是希臘文化的中心內(nèi)容。從史詩詩人到節(jié)慶歌舞隊,從家庭會飲到競技場,各種文藝、體育表演層出不窮。古希臘民眾對于宗教節(jié)慶及賽會的熱愛集中表現(xiàn)在他們非常樂于展現(xiàn)個人才藝。悲劇表演的元素在各種活動中均有體現(xiàn),演員將其融為一體并發(fā)揚光大。 城邦推動了古典文明的進步。對于演員來說,城邦為其發(fā)展提供了必要條件。城邦一直致力于提高個人素質(zhì)、培養(yǎng)優(yōu)秀公民。因此,一方面城邦要大力推行教育,對青少年開展文學(xué)、藝術(shù)、體魄的培養(yǎng)；另一方面城邦設(shè)立各種競技賽會,鼓勵公民參與城邦之間及內(nèi)部的競爭。民主政制建立之后,公民對公共活動的參與更加廣泛,城邦的舞臺不再被少數(shù)貴族壟斷。在諸多因素的共同作用下,悲劇演員才會在古典時代大量出現(xiàn)。
[Abstract]:The ancient Greek tragic actors evolved from the Dionysian carols in the Wine Mystery. They were primarily responsible for answering and reciting personal monologues with the tragic Orchestra. Early actors were both tragic poets. With the development of tragedy, actors become independent individuals and gradually increase in number. Existing Greek tragedies are usually performed by three actors, some of whom have multiple roles. In 449 BC, Athens established the Best Actor Award in the tragic competition for Dionysus, thus opening a new era of actor performance. Actors' movements, sounds, and costumes are the criteria for assessment. The tragic performance began to appear on the stage as a whole. The award marks an increase in the importance of actors, with the names of the winning poets and actors engraved on the monument. With the end of the Greek classical era, tragic creation fell into a trough. However, due to the unremitting efforts of the actors, the influence of tragic art in the Greek world has gradually expanded. Theatres have been established in many areas and excellent actors have been trained. In the Hellenistic era, groups of actors toured the Mediterranean world, spreading ancient Greek tragedies. Tragic actors wear costumes and masks on the stage. A good actor must have excellent performance skills, not only to sound beautiful, but also to imitate the action to be exquisite and lifelike. In ancient Greek tragedies, actors often play multiple roles. Although the replacement of masks and costumes helps to change the image, actors face many difficulties in performing because of the differences in the sound and posture of different characters. Ancient Greek actors were all men, and they had the same problems in playing female roles. They have solved these problems with great skill, and rarely see accusations of actor performance in historical records. The masks of tragic actors deserve special attention. Dionysus is the god of masks, and the significance of masks in the Dionysus festival has aroused much discussion. Masks not only have religious characteristics, but also play a prominent role in the performance. It conceals the true identity of the performer and assigns some characteristics to the character he plays. The mask can also help to attract the attention of the audience, can create a variety of stage atmosphere. In grand theatres, it is convenient for actors to perform. The appearance of tragic actors is closely related to the cultural tradition of ancient Greece. Performance has been a central part of Greek culture since Crete's time. From epic poets to festival singing and dancing troupes, from family drinks to arenas, various arts and sports performances emerge in endlessly. The Greek people's love for religious festivals and tournaments is concentrated in their willingness to show their personal talents. The elements of tragic performance are reflected in all kinds of activities, actors merge it and carry it forward. The polis promoted the progress of classical civilization. For actors, the polis provides the necessary conditions for their development. City-state has been committed to improving personal quality, training excellent citizens. Therefore, on the one hand, the city-states should vigorously promote education to develop literature, art and physique for young people; on the other hand, the city-states should set up various competitions to encourage citizens to participate in the competition among and within the city-states. After the establishment of democracy, citizens' participation in public activities became more extensive, and the city-state stage was no longer monopolized by a few nobles. Under the joint action of many factors, tragic actors will appear in large numbers in the classical times.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J809.545;K125

【引證文獻】

相關(guān)碩士學(xué)位論文 前1條

1 陳明明;對古希臘悲劇藝術(shù)興亡的思考[D];安徽大學(xué);2012年

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本文編號：1837130