本文選題：戲曲表演　切入點(diǎn)：舞蹈表演　出處：《北京舞蹈學(xué)院學(xué)報(bào)》2017年04期 　論文類型：期刊論文

【摘要】：中國(guó)戲曲在漫長(zhǎng)的民族文化積淀中,經(jīng)過(guò)千錘百煉的藝術(shù)實(shí)踐,已然形成了一套完備且系統(tǒng)的表演體系,而這一龐大表演體系的核心要旨則是戲曲舞臺(tái)形象塑造所遵從的形神觀。本文通過(guò)對(duì)戲曲表演形神觀的剖析,發(fā)掘出立形與傳神的手段與途徑,厘清形與神在人物塑造過(guò)程中的相互關(guān)系,明確傳神的階段性變化,并與舞蹈角色表演進(jìn)行橫向比較,試圖為舞蹈角色表演方法提供可資借鑒的實(shí)踐經(jīng)驗(yàn)與理論依據(jù),以完善舞蹈表演藝術(shù)理論體系的構(gòu)建。
[Abstract]:Chinese opera has formed a set of complete and systematic performance system in the long accumulation of national culture and through the artsy practice. The core of this huge performance system is the concept of form and spirit followed by the shaping of the stage image of the opera. Through the analysis of the concept of form and spirit in the performance of the opera, this paper finds out the means and ways of setting up and passing on the spirit. This paper clarifies the relationship between form and spirit in the process of character shaping, clarifies the stage changes, and makes a horizontal comparison with dance role performance, in order to provide practical experience and theoretical basis for the dance role performance method. In order to improve the theoretical system of dance performance.
【作者單位】： 北京師范大學(xué)藝術(shù)與傳媒學(xué)院;
【基金】：北京師范大學(xué)自主科研基金項(xiàng)目(項(xiàng)目編號(hào):skzzy2013039)的研究成果 中央高�；究蒲袠I(yè)務(wù)費(fèi)專項(xiàng)資金資助
【分類號(hào)】：J712

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