本文關(guān)鍵詞： 斯坦尼斯拉夫斯基 聲樂 情感　出處：《天津音樂學(xué)院》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：聲樂是聽覺的藝術(shù)、情感的藝術(shù)。演唱者運(yùn)用一定的聲音技巧將作品的情感內(nèi)涵表現(xiàn)給聽眾,并使其產(chǎn)生共鳴。但目前的聲樂表演者普遍存在的一種現(xiàn)象即太注重表現(xiàn)技巧、忽略情感。所以,針對(duì)這一問題,本論文將以戲劇表演體系中的斯坦尼斯拉夫斯基表演體系為主要研究對(duì)象,發(fā)現(xiàn)和總結(jié)其中的優(yōu)秀經(jīng)驗(yàn)、并探討其與聲樂表演藝術(shù)相結(jié)合的可能性。分析如何使聲樂表演中的人物造型或情感表達(dá)更加準(zhǔn)確、充分。 本文分為三大部分,第一章從概念定義上引出斯坦尼斯拉夫斯基表演體系里的一項(xiàng)重要內(nèi)容——體驗(yàn)派的基本知識(shí)理論。第二章從“假使”、“規(guī)定情境”和“想象”入手,具體分析如何在聲樂作品中運(yùn)用斯坦尼斯拉夫斯基的表演體系。第三章則是將斯坦尼斯拉夫斯基表演體系中有關(guān)語言方面的實(shí)用方法與聲樂作品相結(jié)合。
[Abstract]:Vocal music is the art of hearing and emotion. The singer uses certain sound skills to express the emotional connotation of the work to the audience. And make it resonate. But the current vocal music performers generally exist a phenomenon that pay too much attention to performance skills, ignore emotion. Therefore, in view of this problem. This thesis will focus on the Stanislawski performance system in the theatrical performance system as the main research object, discover and summarize the outstanding experience. It also discusses the possibility of combining it with vocal performing art, and analyzes how to make the characters' modeling or emotional expression in vocal music performance more accurate and adequate. This paper is divided into three parts. The first chapter leads to an important content of Stanislawski's performance system from the concept definition-the basic knowledge theory of experiential school. The second chapter is from the "suppose". Start with "prescriptive situation" and "imagination". The third chapter is to combine the practical methods of the language in the performance system of Stanislavsky with the vocal music works.
【學(xué)位授予單位】：天津音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J616

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相關(guān)期刊論文 前1條

1 邱雅洲;;論聲樂演唱中表演的相關(guān)訓(xùn)練方法及其審美作用[J];河南大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2009年04期

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