發(fā)布時間：2018-05-01 07:35

  本文選題：形體語言 + 戲劇表演��； 參考：《哈爾濱師范大學(xué)》2011年碩士論文

【摘要】：藝術(shù)是人類特有的行為方式,作為藝術(shù)重要的形式。在戲劇表演中,形體語言既是非常重要的藝術(shù)手段,也是構(gòu)筑人物形象的重要的物質(zhì)材料,在戲劇中,形體語言與口頭語言共同承擔(dān)著傳遞信息、交流感情的任務(wù),同時還對口頭語言產(chǎn)生很大的加強作用,產(chǎn)生比口頭語言更能震撼觀眾的作用,產(chǎn)生不言而喻的效果,起到一切盡在不言中的作用。 形體語言深刻地蘊含并體現(xiàn)了戲劇的本質(zhì)和精神。首先,形體語言使戲劇的文學(xué)性同一般文學(xué)樣式有了本質(zhì)的區(qū)別;戲劇的劇場性屬性則更是與形體語言息息相關(guān);戲劇的沖突性也更多地借助形體語言來完成,演員的形體語言在塑造人物性格、人物與人物之間由于性格所追求的目的不同而展開的矛盾斗爭等方面具有口頭語言所不具備的優(yōu)勢。形體語言比口頭語言代表著更高層次的戲劇本質(zhì)和精神。在所有藝術(shù)門類中,戲劇,具有身體性。只有身體性而沒有其它戲劇元素的戲劇是可以成立的,而反之,具備其它所有戲劇元素單缺身體的戲劇是不可能成立的。戲劇的身體性在于:第一,它是身體在場的(最表層意義上的身體性),演觀雙方的共同身體在場,缺一不可,并且其各種程度上的互動,構(gòu)成戲劇的最根本要素:劇場性;第二,身體作為戲劇資源的被開發(fā)。 形體語言由于中西方戲劇傳統(tǒng)的不同,而在理念、地位和發(fā)展軌跡上存在著差異。形成了“劇場 觀眾”與“劇本 讀者”兩個雖相互聯(lián)系但判然有別的戲劇系統(tǒng)。這兩種迥然不同的戲劇觀念直接導(dǎo)致了形體語言在各自戲劇傳統(tǒng)和表演系統(tǒng)中的差異。在這樣的背景下,形體語言對于戲劇本身的意義,以及對于演員表演在中西方這兩種迥異的戲劇傳統(tǒng)所帶來的新的拓展空間本身就成為一個值得深入研究的課題。 論文的第一部分深入地探究形體語言對于戲劇本質(zhì)和精神的意義;論文的第三部分重新梳理形體語言在中國和西方戲劇傳統(tǒng)中的觀念認(rèn)識和發(fā)展軌跡;論文的第三部分則并探討形體語言在現(xiàn)代語境的中西方戲劇表演中所應(yīng)承載的價值和功能、各自面臨的問題和解決之道。
[Abstract]:Art is a unique human behavior, as an important form of art. In theatrical performance, body language is not only a very important artistic means, but also an important material material to construct character image. In drama, body language and oral language jointly undertake the task of transmitting information and exchanging feelings. At the same time, it also has a strong effect on the oral language, which can shock the audience more than the oral language, produce the self-evident effect, and play a role in all words. Body language deeply embodies the essence and spirit of drama. First of all, body language makes the literary nature of drama different from the general literary style; the theatrical nature of drama is closely related to the body language; the conflict of drama is also more accomplished by body language. The body language of actors has advantages that oral language does not have in shaping character and in contradictory struggles between characters because of their different aims. Body language represents a higher level of drama essence and spirit than oral language. In all categories of art, drama is physical. Drama with only physical nature and no other dramatic elements can be established, whereas drama with all the other elements of drama without body can not be established. The body of drama lies in: first, it is the body of the presence (the most superficial sense of the body, the performance of both sides of the common body presence, indispensable, and its various levels of interaction, constitute the most fundamental elements of drama: theater; Secondly, the body is exploited as a drama resource. Body language is different in concept, position and development track because of the difference of Chinese and western drama tradition. Theater audience and Screenplay readers are connected but there are other theatrical systems. These two different concepts of drama directly lead to the difference of body language in their theatrical traditions and performance systems. In this context, the meaning of body language to the drama itself and the new expansion space brought about by the actor's performance in the two different theatrical traditions between China and the West have become a subject worthy of further study. The first part explores the significance of body language to the essence and spirit of drama, the third part rearranges the concept understanding and development track of body language in the tradition of Chinese and western drama. The third part discusses the value and function of body language in modern Chinese and western theatrical performances, the problems they face and the solutions to them.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J812

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相關(guān)期刊論文 前2條

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2 李莉;;從形體語言的探索開始[J];戲劇藝術(shù);2007年04期

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本文編號：1828378