本文關(guān)鍵詞： 戲曲教育 教學(xué)現(xiàn)狀 教學(xué)方法 分析 思考　出處：《沈陽師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：戲曲教學(xué)是戲曲傳承的重要手段,早在唐代,政府便設(shè)有專門的歌舞藝術(shù)教學(xué)機(jī)構(gòu),在唐玄宗時期,就由政府設(shè)置教坊,這也是第一個由官方負(fù)責(zé)歌舞類教學(xué)演出的機(jī)構(gòu)。在新中國成立以前,戲曲的核心教育目的較為明確,即是以演員能夠熟練掌握基本功法并形成自由的戲曲程式塑造人物形象為目的,繼而進(jìn)行商業(yè)演出,從中獲利。新中國成立之后,戲曲教學(xué)的目的發(fā)生了轉(zhuǎn)變。戲曲作為傳統(tǒng)文化的一個載體,戲曲演員除卻進(jìn)行成功的商演之外,更為重要的是傳承傳統(tǒng)文化�；诖朔N目的,新時期戲曲教育的模式必須有所改變。以前科班演員教學(xué)以謀生為目的�？瓢嗟慕虒W(xué)制度較為嚴(yán)苛,為達(dá)到所要求的動作標(biāo)準(zhǔn),訓(xùn)練過程中挑戰(zhàn)人體承受能力的極限,教學(xué)手段較為單一粗暴�，F(xiàn)今的戲曲教學(xué)主要以繼承為主,在訓(xùn)練過程中,教學(xué)體系的建構(gòu)更為尊重演員自身的條件,同時參考外國教學(xué)戲劇的訓(xùn)練方式,試圖尋找更為科學(xué)的訓(xùn)練方法。然而在此建構(gòu)過程中并非是一帆風(fēng)順的,因為戲曲藝術(shù)本身的特殊性決定了教育者和受教育者(師父和徒弟之間)依然存在著師徒關(guān)系,教學(xué)手段依然是以口傳心授為主,雖然口傳心授有利于戲曲絕活、高難度技術(shù)技巧絕技的傳承,但依舊同標(biāo)準(zhǔn)化教學(xué)建構(gòu)相矛盾。本文主要以歷史學(xué)的方法分別對傳統(tǒng)戲曲教學(xué)以及當(dāng)代戲曲教學(xué)的歷程進(jìn)行一個考察。以及田野考察法深入戲曲表演教學(xué)課堂,親身經(jīng)歷戲曲教學(xué)。了解當(dāng)代戲曲教學(xué)的具體流程。第一章在引言中明確了選題的學(xué)術(shù)背景和研究意義以及國內(nèi)外研究現(xiàn)狀。第二章梳理了唐宋元明清的戲曲教學(xué)的機(jī)構(gòu)、教學(xué)模式,分析家班、戲班的教學(xué)樣式。第三章梳理了近現(xiàn)代的戲曲的教學(xué)機(jī)構(gòu)教學(xué)體系,分析現(xiàn)今專業(yè)戲曲院校的教學(xué)樣式有哪些,主要的教學(xué)目的是什么。第四章對比分析傳統(tǒng)戲曲教學(xué)同現(xiàn)代戲曲教學(xué)的教學(xué)機(jī)構(gòu)、教學(xué)方式、教學(xué)內(nèi)容、教學(xué)本質(zhì)的區(qū)別,從而找出現(xiàn)行的戲曲教學(xué)模式同標(biāo)準(zhǔn)化教學(xué)建構(gòu)相矛盾之處在哪里。第五章提出了對構(gòu)建現(xiàn)代戲曲教學(xué)體系的構(gòu)想。明確現(xiàn)代戲曲教學(xué)的培養(yǎng)目標(biāo),制定合理的教學(xué)大綱,區(qū)分高中生源同中專生源的教學(xué)方向,通過合理的教學(xué)計劃達(dá)到培養(yǎng)綜合型戲曲人才的目的。
[Abstract]:Opera teaching is an important means of opera inheritance, as early as the Tang Dynasty, the government has a special singing and dancing art teaching institutions, in the Tang Xuanzong period, the government set up teaching workshops. This is also the first official organization responsible for singing and dancing teaching. Before the founding of New China, the core educational purpose of opera was relatively clear. That is to say, the actor can master the basic skills skillfully and form a free opera program for the purpose of portraying characters, and then conduct a commercial performance, profit from it. After the founding of New China. The purpose of opera teaching has changed. Opera as a carrier of traditional culture, opera actors in addition to successful commercial performance, more important is to inherit the traditional culture. Based on this purpose. In the new period, the mode of opera education must be changed. In the past, the teaching of actors in science classes aimed at earning a living. The teaching system of science classes was more strict, in order to meet the required standards of action. In the process of training, the limit of human endurance is challenged, and the teaching method is relatively simple and rough. Nowadays, the traditional opera teaching is mainly inherited. In the course of training, the construction of teaching system is more respectful to the actors' own conditions. At the same time, referring to the training methods of foreign teaching drama, we try to find more scientific training methods. However, it is not smooth sailing in the construction process. Because of the particularity of the opera art itself, there is still a teacher-student relationship between the educator and the educatee (master and apprentice), and the teaching method is still oral instruction. Although oral instruction is conducive to the skills of opera, the inheritance of technical skills of high difficulty. However, it is still contradictory with the construction of standardized teaching. This paper mainly investigates the course of traditional opera teaching and contemporary opera teaching by the method of history, as well as the field study method to go deep into the classroom of opera performance teaching. . Experience opera teaching personally. Understand the specific process of contemporary opera teaching. The first chapter defines the academic background and research significance of the topic in the introduction. Chapter 2 combs the opera teaching in Tang, Song, Yuan, Ming and Qing dynasties. A learning institution. The third chapter combs the teaching system of modern opera teaching institutions and analyzes the teaching styles of modern professional opera colleges. Chapter 4th compares the differences between traditional opera teaching and modern opera teaching, such as teaching organization, teaching method, teaching content and teaching essence. In order to find out where the contradiction between the current opera teaching mode and standardized teaching construction. Chapter 5th put forward the concept of constructing modern opera teaching system and clarify the training objectives of modern opera teaching. To draw up a reasonable teaching outline, to distinguish the teaching direction between the high school students and the secondary school students, and to train the comprehensive opera talents through the reasonable teaching plan.
【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】：G642;J812-4

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