本文關(guān)鍵詞：京劇凈行的傳承與教學(xué)思辨　出處：《沈陽師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 京劇凈行 傳承 劇目課 教育 教學(xué)

【摘要】：凈——可以追溯至唐代的參軍戲。發(fā)展至宋元南戲、元雜劇時(shí)期,其名稱通常被認(rèn)為是以喜劇元素見長的宋雜劇、金院本中副凈角色演進(jìn)而來。民國之后,銅錘花臉(正凈)、架子花臉(副凈)、武花臉(武凈)三類行當(dāng)?shù)男纬?推動(dòng)了整個(gè)京劇凈行的發(fā)展進(jìn)程,拓展了京劇武戲的發(fā)展新空間。本文以劇目課教學(xué)為視角,從傳承與發(fā)展的角度全面審視與解讀京劇凈行與本科劇目課教學(xué)的聯(lián)系與思考。通過長期的舞臺實(shí)踐積累和課堂教學(xué)創(chuàng)新,使京劇凈行劇目課教學(xué)在傳承和弘揚(yáng)中國優(yōu)秀傳統(tǒng)文化中不斷凸顯出以美育人、教化育人的重要作用。戲曲藝術(shù)傳承的重心在于學(xué)校教育,戲曲教育立足于教師們“口傳心授”和拜師收徒等傳承方式的同時(shí),需要結(jié)合當(dāng)前教育發(fā)展形勢,大力推進(jìn)中國優(yōu)秀傳統(tǒng)文化的創(chuàng)造性轉(zhuǎn)化和創(chuàng)新型發(fā)展。創(chuàng)新并不是對傳統(tǒng)戲曲教學(xué)方式的全盤否定,而是根據(jù)戲曲教育發(fā)展規(guī)律,通過研究和總結(jié)老一輩藝術(shù)家的文藝精髓對現(xiàn)代藝術(shù)教育的有利方面,融合自身舞臺實(shí)踐和教學(xué)認(rèn)知等,完善凈行劇目課教學(xué)目標(biāo)、豐富教學(xué)內(nèi)容,從而實(shí)現(xiàn)教學(xué)效果的最優(yōu)化。本文第一章是引言,介紹了選題的理論意義、國內(nèi)外研究現(xiàn)狀和研究方法,對當(dāng)前京劇凈行及凈行教學(xué)兩個(gè)方面的文獻(xiàn)材料進(jìn)行了梳理。第二章是關(guān)于京劇凈行的傳承與發(fā)展,從歷史發(fā)展脈絡(luò)和師承關(guān)系方面闡述了京劇凈行流派的形成;再從金少山、裘盛戎、郝壽臣、袁世海四位京劇表演大師的生平及流派風(fēng)格介紹了銅錘花臉唱腔風(fēng)格的流變與融合以及架子花臉表演特點(diǎn)的創(chuàng)新與發(fā)展。第三章是針對京劇凈行在本科劇目課教學(xué)中的設(shè)計(jì)分析,其中總結(jié)與論述了凈行劇目課中教學(xué)目標(biāo)的設(shè)定原則,并從基礎(chǔ)教學(xué)的程式性和開蒙戲的選用兩個(gè)方面解讀了凈行與劇目課教學(xué)內(nèi)容的內(nèi)在關(guān)聯(lián),再從教學(xué)目標(biāo)的評價(jià)與考核標(biāo)準(zhǔn)的反思角度對凈行在劇目課教學(xué)評價(jià)中的思考方面提出建議。
[Abstract]:It can be traced back to the military drama of the Tang Dynasty. During the period of Song and Yuan dynasties, the name of the opera was usually regarded as the Song zaju with a strong comedy element, and the role of the deputy net in the Jin Yuan book evolved. After the Republic of China. The formation of copper hammer flower face (positive net, shelf flower face) (vice net, Wu Hua face (Wu Jing)) promoted the development process of the whole Beijing Opera net line. Expand the new space of the development of Beijing Opera Wu Opera. This article takes the drama teaching as the angle of view. From the perspective of inheritance and development, this paper comprehensively examines and interprets the relationship and thinking between Beijing Opera's net action and the teaching of undergraduate repertoire. Through long-term stage practice accumulation and classroom teaching innovation. In order to make the teaching of Jingxing Opera play an important role in inheriting and carrying forward Chinese excellent traditional culture, the important role of aesthetic education and education is constantly highlighted. The focus of inheritance of opera art lies in school education. Traditional Chinese opera education is based on the inheritance of teachers'"oral teaching" and "worshiping", and needs to be combined with the current situation of education development. Promote the creative transformation and innovative development of Chinese excellent traditional culture. Innovation is not the total negation of the traditional opera teaching method, but based on the law of the development of opera education. Through the study and summary of the literary and artistic essence of the older generation of artists to the benefits of modern art education, the integration of their own stage practice and teaching cognition, improve the teaching objectives of the net repertoire course, enrich the teaching content. In order to achieve the optimization of teaching results. The first chapter of this paper is an introduction, introduced the theoretical significance of the topic, domestic and foreign research status and research methods. The second chapter is about the inheritance and development of Beijing Opera clean line. From the perspective of historical development and the relationship between teachers and successors, this paper expounds the formation of the net school of Beijing Opera; Then from Jin Shaoshan, Qiu Shengrong, Hao Shouchen. The life history and genre style of four Beijing opera performance masters of Yuan Shihai introduced the evolution and fusion of bronze hammer flower face singing style and the innovation and development of the performance characteristics of shelf flower face. The third chapter is aimed at the teaching of Beijing opera in the course of undergraduate repertoire. Design analysis in science. It summarizes and discusses the principles of setting teaching objectives in the course of net play, and interprets the inherent relationship between the net line and the teaching content of the course from the aspects of the formula of basic teaching and the selection of the opening Mongolian opera. From the point of view of the evaluation of teaching objectives and evaluation standards, the author puts forward some suggestions on the thinking of net action in the teaching evaluation of repertoire.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J821.2-4;G642

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