本文關(guān)鍵詞： 當(dāng)下 中國話劇 動作空間 知覺空間 交往空間 審美空間　出處：《遼寧大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：2013年末，《人民日報(bào)》等期刊以及一些網(wǎng)站紛紛對2013年中國本土話劇進(jìn)行盤點(diǎn)。用兩個(gè)關(guān)鍵詞可以總結(jié)他們的觀點(diǎn)：“活力”和“原創(chuàng)力”�！盎盍Α贬槍Φ氖窃拕∈袌觯袊�(dāng)下的話劇市場比以往任何時(shí)候都要繁榮，作品產(chǎn)出逐步增加，作品的多樣性也給觀眾提供了多種選擇。但是在其背后，便是“原創(chuàng)力”枯竭的問題。從中我們不難看出中國當(dāng)下話劇所面臨的問題，而問題的根源更多的可以歸結(jié)為中國話劇舞臺空間的問題。所以，對于中國當(dāng)下話劇舞臺空間的研究和探索就顯得尤為迫切和重要。 本文從劇場樣式的流變和空間觀念的流變?nèi)胧�，對中國�?dāng)下話劇舞臺空間進(jìn)行簡要的概述。劇場作為舞臺空間的載體，從鏡框舞臺劇場到“鏡框——伸出”舞臺劇場再到小劇場，大致勾勒出中國劇場在樣式上的轉(zhuǎn)變。而人類空間觀念不斷地推進(jìn)，從二維到三維直到多維的空間觀念，塑造了話劇舞臺的實(shí)景空間和空的空間。進(jìn)入話劇舞臺空間中的動作空間，這一部分主要從演員的身體和動作空間的流動性來對中國當(dāng)下話劇進(jìn)行分析。演員身體作為動作空間的起點(diǎn)，在中國當(dāng)下話劇中呈現(xiàn)為向內(nèi)伸延和向外伸延的趨勢。而動作空間的實(shí)質(zhì)性流動和隱秘性流動，以及它們彼此間的交互流動是組織動作空間的基礎(chǔ)。對于動作空間的組織其實(shí)是為了讓觀眾更好地觀看，，而“看”則涉及到了話劇舞臺空間的知覺空間。本文將從視覺和聽覺兩部分對中國當(dāng)下話劇在塑造知覺空間中的得失利弊進(jìn)行現(xiàn)象的梳理和理論上的概括。其中涉及空白與交流、聲音對于空間的塑造和拓展等問題。對于話劇來說，劇場性是它區(qū)別于其它藝術(shù)的重要因素之一。而劇場性集中反映在話劇舞臺空間的交往空間之中。中國當(dāng)下話劇在觀演關(guān)系上存在很多的問題，作為觀眾是旁觀還是參與，其實(shí)就涉及到創(chuàng)作者對交往空間的設(shè)計(jì)。而動作空間、知覺空間和交往空間環(huán)環(huán)相扣，最終需要在審美空間中得到升華。對于中國當(dāng)下話劇在審美空間中如何適合的掌握符號的密度，如何把握適度的創(chuàng)造尺度都將在文中進(jìn)行詳細(xì)地探討。
[Abstract]:In end of 2013, journals such as People's Daily and some websites took stock of local Chinese drama in 2013. Their views were summed up in two key words: "vigor" and "originality". "vigor" was aimed at the drama market. The Chinese drama market is booming now than ever before, the output of works is gradually increasing, and the diversity of works offers viewers a variety of choices. But behind it, It is the problem of "originality" drying up. It is not difficult to see the problems that Chinese modern drama faces, and the root of the problems can be attributed more to the problems of the stage space of Chinese drama. So, The research and exploration of the stage space of Chinese drama is particularly urgent and important. This article starts with the evolution of the theater style and the concept of space, and gives a brief overview of the stage space of the present Chinese drama, which is the carrier of the stage space. From the framed stage theater to the "framed" stage theater to the small theater, the change in the style of the Chinese theater is roughly outlined. And the concept of human space is constantly advancing, from two to three to three dimensions to a multidimensional concept of space. Created the actual scene space and the empty space of the stage of the drama. Enter the action space of the stage space of the drama, This part mainly analyzes the current Chinese drama from the mobility of the actor's body and action space. The actor's body is the starting point of the action space. In the present Chinese drama, there is a tendency to extend inward and outwards, while the substantive flow and covert flow of the action space, And how they interact with each other is the basis for organizing the action space, which is actually organized to allow the audience to see it better. This paper will sort out and summarize theoretically the advantages and disadvantages of the present Chinese drama in shaping the perceptual space from the two parts of vision and hearing. Involving gaps and communication, How sound shapes and expands space. For drama, Theater is one of the important factors that distinguishes it from other arts. And theater is reflected in the communication space of stage space of drama. There are many problems in the relationship between watching and acting in Chinese modern drama. As an audience, we should watch or participate in it. In fact, it involves the creator's design of the communication space. And the action space, the perceptual space and the communication space are intertwined. Finally, we need to be sublimated in the aesthetic space. How to grasp the density of symbols and how to grasp the appropriate scale of creation will be discussed in detail in this paper.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J824

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相關(guān)期刊論文 前1條

1 何博翔;;小劇場話劇舞臺空間解析[J];山西建筑;2008年17期

本文編號：1553753