本文選題：丑角 + 喜劇��； 參考：《山東師范大學(xué)》2012年碩士論文

【摘要】：中國(guó)戲曲里的丑角有著悠久的發(fā)展歷史，具有重要的研究?jī)r(jià)值，本論文正是基于前人對(duì)戲曲研究、對(duì)丑角研究的基礎(chǔ)之上，從美學(xué)理論出發(fā)對(duì)丑角進(jìn)行研究。丑角的歷史生成經(jīng)歷了一個(gè)漫長(zhǎng)的發(fā)展過(guò)程，要對(duì)丑角進(jìn)行審美探究，首先要了解這一角色在戲曲中的發(fā)展表現(xiàn)，本論文由丑角的形成過(guò)程入手，在第一部分對(duì)丑角發(fā)展進(jìn)行了溯源和分類，從文獻(xiàn)入手對(duì)丑角形成前的各階段特征進(jìn)行論述，從而揭示出丑是如何獨(dú)立成為戲曲中的一個(gè)行當(dāng)?shù)摹?文章第二部分，進(jìn)一步分析了丑角的三個(gè)藝術(shù)審美特征：丑角的美學(xué)本質(zhì)特征——丑中見(jiàn)美，丑角的美學(xué)形態(tài)特征——滑稽，丑角的美學(xué)效果特征——笑，丑中見(jiàn)美是丑角最本質(zhì)的美學(xué)特征，，丑角的化丑為美表現(xiàn)的是一個(gè)將形式丑轉(zhuǎn)化為藝術(shù)美的過(guò)程，本章第一節(jié)便由戲曲個(gè)案出發(fā)對(duì)丑角如何化丑為美詳細(xì)做了分析，隨后，論文通過(guò)對(duì)滑稽特點(diǎn)的分析來(lái)表現(xiàn)丑角與滑稽的關(guān)系，并進(jìn)一步論述滑稽和笑在丑角表演中的意義，具有一定的新穎性，同時(shí)丑角在戲曲表演時(shí)所帶給人們的悲感，在此部分也做了簡(jiǎn)單的說(shuō)明。 在戲曲里，丑角與其他行當(dāng)有著顯著的區(qū)別，觀眾對(duì)不同的角色也有著不同的審美要求，丑角不像旦角那樣或端莊或穩(wěn)重，不像生角那樣或?yàn)t灑或老成，也不像凈角那樣魯莽或暴躁，丑角是特殊的，他有著與眾不同的才思性情，有著無(wú)比執(zhí)著又真誠(chéng)的精神，時(shí)時(shí)處處體現(xiàn)著對(duì)自由的向往，因此丑角的特殊是值得肯定的，論文在第三部分從丑角的舞臺(tái)表現(xiàn)和才思性情兩方面對(duì)其藝術(shù)創(chuàng)造進(jìn)行了詳細(xì)的論述。 我們要研究一個(gè)角色，就必須同時(shí)研究他的接受情況才能夠完整，對(duì)于戲曲角色行當(dāng)來(lái)說(shuō)，觀眾對(duì)角色的接受和喜愛(ài)程度也透露出了人們審美意識(shí)的發(fā)展?fàn)顩r，因此在文章最后一部分介紹了丑角與中國(guó)傳統(tǒng)審美文化心理的關(guān)系、丑角與大眾審美接受的關(guān)系。 與之前對(duì)丑角在藝術(shù)表演領(lǐng)域單一化研究不同，文章從美學(xué)理論、美學(xué)創(chuàng)造及美學(xué)接受等方面將戲曲丑角作為一個(gè)美學(xué)對(duì)象研究，是一個(gè)從點(diǎn)到面的過(guò)程，丑角特殊的審美性質(zhì)及其丑中見(jiàn)美的藝術(shù)本質(zhì)也得到了系統(tǒng)的闡釋。
[Abstract]:The clown in Chinese opera has a long history of development and has important research value. This paper is based on the previous studies of opera, on the basis of the study of clowns, from the perspective of aesthetic theory to study clowns.The history of the clown has experienced a long process of development. In order to explore the role of the clown aesthetically, first of all, we should understand the development of this role in the drama. This paper starts with the formation process of the clown.In the first part, the origin and classification of the development of clowns are traced, and the characteristics of each stage before the formation of clowns are discussed from the literature, so as to reveal how the appearance of ugliness has become an independent profession in the opera.The second part of the article further analyzes the three artistic aesthetic characteristics of the clown: the essential aesthetic characteristics of the clown-the beauty in the ugly, the aesthetic morphological characteristics of the clown-funny, the aesthetic effect of the clown-laugh.The appearance of beauty in ugliness is the most essential aesthetic characteristic of clown, and the process of transforming form ugliness into artistic beauty is represented by the transformation of clown into beauty. The first section of this chapter analyzes in detail how the clown turns ugliness into beauty from the case of drama.Through the analysis of the funny features, the paper shows the relationship between the clown and the antics, and further discusses the significance of the funny and laughing in the clown performance, which has certain novelty, and at the same time, the clown brings people a sense of sadness when performing in the opera.A brief explanation is also given in this section.In the opera, the clown has a remarkable difference from other professions, and the audience also has different aesthetic requirements for different roles. The clown is not as dignified or stable as the danjiao, not like the born one or chic or mature.Nor is he as reckless or grumpy as the net horn. The clown is special. He has a distinctive intellect, an incomparably persistent and sincere spirit, and a yearning for freedom all the time, so the special character of the clown is worthy of recognition.In the third part, the artistic creation of the clown is discussed in detail from its stage performance and talent.If we want to study a character, we must study its acceptance at the same time in order to be complete. For the opera role line, the audience's acceptance and love of the role also reveal the development of people's aesthetic consciousness.Therefore, in the last part of the article, the relationship between clown and Chinese traditional aesthetic culture psychology and the relationship between clown and popular aesthetic acceptance is introduced.Different from previous studies on the singleness of clowns in the field of artistic performance, the article regards the clown as an aesthetic object from the aspects of aesthetic theory, aesthetic creation and aesthetic acceptance, which is a process from point to face.The special aesthetic nature of clown and the artistic essence of beauty in ugliness have also been systematically explained.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J801

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 張雷;石立業(yè);宮文強(qiáng);;淺談戲曲丑角的舞臺(tái)功能[J];參花(下);2013年06期

本文編號(hào)：1764784