發(fā)布時(shí)間：2018-03-09 02:06

  本文選題：掌上珠　切入點(diǎn)：新編劇目　出處：《當(dāng)代戲劇》2017年03期 　論文類型：期刊論文

【摘要】：正《啞女告狀》是上世紀(jì)八十年代初由淮劇首演的新編劇目,劇目構(gòu)思精巧、情節(jié)引人入勝、感情細(xì)膩豐富,隨之由馬金仙等老師移植為秦腔。我于1995年學(xué)習(xí)該劇并演出,塑造的掌上珠也受到觀眾的喜愛,并獲得首屆陜西省藝術(shù)節(jié)一等獎(jiǎng)。掌上珠這個(gè)角色對(duì)演員的要求比較高,前后都有分量較大的唱功戲,中間又有大量做工戲,尤其是在掌上珠變啞之后,只能靠做工和表情來延續(xù)劇情。因此必須全面提升自己的表演技術(shù),以充沛的感情外化
[Abstract]:The dummy woman's complaint is a new repertoire that was first performed by Huai Opera in early -20s. The repertoire was ingenious in conception, fascinating in plot, rich in emotion, and then transplanted into Qin Opera by Ma Jinxian and other teachers. In 1995, I studied the play and performed it. The handheld beads are also loved by the audience and won the first prize of the first Shaanxi Art Festival. The role of the handheld beads is quite demanding for the actors, with a lot of singing skills before and after, and a large number of artisans in the middle. Especially in the palm of the bead mute, can only rely on workmanship and facial expression to continue the plot. Therefore, we must improve their performance skills, with full emotional externalization
【分類號(hào)】：J825

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本文編號(hào)：1586511