本文關鍵詞： 動畫表演 影視表演 夸張　出處：《湖北工業(yè)大學》2013年碩士論文　論文類型：學位論文

【摘要】：目前，對于動畫是否是一門表演藝術這個問題，仍有部分人持否定態(tài)度，他們認為：“表演”這一行為必須由真人這一主體直接呈現(xiàn)出來，所有由真人通過其他媒介以及表現(xiàn)手法所間接呈現(xiàn)出來的“表演”，不應被歸類于表演藝術。對此，筆者有著不同的看法。表演是指演奏樂曲、上演劇本、朗誦詩詞等直接或者借助技術設備以聲音、表情、動作公開再現(xiàn)作品。1而動畫是由動畫師對作品中的人設、表情、動作等各方面的刻畫，以表演的形式向觀眾傳達內在的思想和情感。由此可看出，表演與動畫表演存在共性。 真人表演是一個相對寬泛的概念，它囊括了歌唱、戲曲、歌舞、影視等，這其中與動畫表演最為接近的就是影視表演。因此，本文將重點放在動畫表演與影視表演的區(qū)別上，以突出動畫表演的特性。 本文從動畫專業(yè)的角度出發(fā)，以動畫表演與影視表演的區(qū)別為切入點，采用理論研究結合典型實例論證的方法，試圖揭示出動畫表演對于一部動畫的重要性。具體分析過程如下： 1.概括性描述影視表演的基本概念及動畫表演的理論研究范疇。目前，國內外研究人員對于影視表演的研究相對比較深入，而對于動畫表演的確切定義尚不明晰，筆者暫時借用國內專家的研究成果來說明它的理論研究范疇。 2.分析動畫表演的特點。本章分別對動畫表演中的情感、表情、肢體、動作節(jié)奏及一般運動規(guī)律進行分析，，以此來總結動畫表演的特點。 3.研究動畫表演與影視表演的差異。本章從視覺感官和深層次感受兩個大的方面分析了動畫表演與影視表演的異同點。此章節(jié)中，筆者嘗試從聲音語言和執(zhí)行者這兩個角度來分析動畫表演與影視表演的差異。 4.歸納美、日、中三國動畫表演的特點。本章結合典型實例概括總結了美國、日本、以及中國動畫表演的特點,通過對比，力圖揭示目前中國動畫創(chuàng)作中對于表演部分存在的一些問題。 5.結合典型實例分析作品中的動畫表演。以《功夫熊貓》、《貓和老鼠》、《海綿寶寶》以及本人畢業(yè)設計《茶壺》為例，詳細分析動畫表演在這些影片中的具體體現(xiàn)。 通過以上研究得出結論：影視表演源于生活，其真實性的特點決定了自身風格應該自然且貼近生活，而動畫表演則是對生活態(tài)度的一種夸張和放大。動畫師可以借鑒影視表演經(jīng)驗，學習它的分析、表演方法，將其靈活運用在動畫表演上。好的動畫表演不僅要合乎運動規(guī)律、符合角色內心情感，還必須在此基礎上將動態(tài)夸張，使其更加生動有趣。一部動畫作品，如果沒有好的表演設計，即便是劇本、角色和場景都設計得很精彩，這部動畫也會顯得生硬死板，空洞乏味。
[Abstract]:At present, there are still some people who hold a negative attitude to the question whether animation is a performing art. They think that the act of "performing" must be presented directly by the subject of the real person. All the "performances" indirectly presented by real people through other media and means of expression should not be classified as performing arts. Reciting poems and poems directly or with the help of technical equipment to openly reproduce work 1.The animation is the portrayal by animators of the people, expressions, movements and other aspects of the works. The internal thoughts and emotions are conveyed to the audience in the form of performance, and it can be seen that there are commonalities between the performance and the animation performance. Reality performance is a relatively broad concept, it includes singing, opera, song and dance, film and television, and so on, which is closest to the animation performance is the film and television performance. Therefore, this paper will focus on the difference between animation performance and film performance. To highlight the characteristics of an animated performance. In this paper, from the angle of animation specialty, taking the difference between animation performance and film performance as the breakthrough point, the method of theoretical research combined with typical examples is adopted. This paper tries to reveal the importance of animation performance to an animation. 1. A general description of the basic concepts of film and television performance and the theoretical research scope of animation performance. At present, domestic and foreign researchers have relatively deep research on film and television performance, but the exact definition of animation performance is not clear. The author temporarily borrows the domestic expert's research result to explain its theory research scope. 2. Analyzing the characteristics of animation performance. This chapter analyzes the emotion, expression, limbs, rhythm of action and general rules of movement in animation performance, so as to summarize the characteristics of animation performance. 3. Study the difference between animation performance and film performance. This chapter analyzes the similarities and differences between animation performance and film performance from two aspects of visual sense and deep feeling. The author tries to analyze the difference between animation performance and film performance from the perspective of sound language and executor. 4. Summarize the characteristics of animation performance in America, Japan and China. This chapter summarizes the characteristics of animation performance in America, Japan, and China with typical examples. This paper tries to reveal some problems existing in Chinese animation creation. 5. Taking Kung Fu Panda, Cat and Mouse, SpongeBob and my graduation Design as examples to analyze the animation performance in these films. Through the above research, we can draw a conclusion that the film and television performance originates from life, and its authenticity determines that its own style should be natural and close to life. Animation performance is an exaggeration and amplification of the attitude towards life. Animators can learn from the experience of film and television performances, learn its analysis, perform methods, and apply it flexibly to animation performances. A good animation performance should not only conform to the law of movement. In line with the character's inner feelings, it must also be based on this dynamic hyperbole to make it more lively and interesting. An animated work, without a good performance design, even a script, character, and scene is well designed. This animation will also appear stiff and rigid, empty and boring.
【學位授予單位】：湖北工業(yè)大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J912;J954

【參考文獻】

相關期刊論文 前10條

1 辜小蘇;;探析動畫表演的特質[J];包裝工程;2010年18期

2 朱瑞君;;試論影視配音和動畫配音的不同點[J];成功(教育);2008年08期

3 崔勵;;中國水墨動畫的特色及其前景[J];電影文學;2007年24期

4 米高峰;馮碩;馬Pr遠;;影視動畫的“影視性”表演與“動畫性”表演[J];電影評介;2010年12期

5 詹秦川;唐婷婷;馬Pr遠;;探討影視動畫表演的三大創(chuàng)作元素[J];電影評介;2012年02期

6 張曉檸;;論演員創(chuàng)作角色的心理過程[J];北方文學(下半月);2011年10期

7 夏雨;;瞬間看透身邊人[J];大家健康;2010年06期

8 蔡瑩;;從日本聲優(yōu)培養(yǎng)路線淺談廣播動漫產(chǎn)業(yè)演員隊伍建設[J];華章;2012年24期

9 張麗;;肢體語言,演員的翅膀——淺議肢體語言的作用[J];黃梅戲藝術;2012年02期

10 張唯誠;;人類表情的“真面目”[J];科學與文化;2012年12期

本文編號：1532175