本文選題：豫劇 + 丑角　； 參考：《延邊大學(xué)》2011年碩士論文

【摘要】：本文以牛得草表演藝術(shù)為對(duì)象,分別從緒論、牛得草的藝術(shù)人生、牛得草的表演藝術(shù)和牛得草表演藝術(shù)的美學(xué)特征—丑而不丑、丑中見美四個(gè)方面進(jìn)行了論述。 在本文在緒論當(dāng)中,論述了本課題的緣起是因?yàn)槟壳袄碚摻鐚?duì)牛派藝術(shù)研究的缺失,其目的是通過牛得草表演藝術(shù)研究,從理論的高度審視牛得草表演藝術(shù),使其牛派藝術(shù)發(fā)揚(yáng)光大,同時(shí)對(duì)目前理論界牛派藝術(shù)研究的缺失也是一種彌補(bǔ)。除此之外,緒論中還寫了本課題研究的現(xiàn)狀和研究所用的方法。 在第二章中,主要通過牛得草從藝的經(jīng)歷和牛得草的藝術(shù)成就兩個(gè)方面來寫。其中從藝經(jīng)歷分別從牛得草流浪黃河畔、在丑角領(lǐng)域初露鋒芒和經(jīng)歷波折與輝煌三個(gè)方面來寫。牛得草的藝術(shù)成就主要包括創(chuàng)立牛派、其作品的重要地位、牛得草在戲曲教學(xué)方面的貢獻(xiàn)以及在創(chuàng)設(shè)新腔、劇本整理方面的貢獻(xiàn)。 在第三章中,主要分析了牛得草的表演藝術(shù)。分別從唱腔、念白和身段動(dòng)作表演進(jìn)行敘述。其中牛得草的唱腔特征表現(xiàn)在：在唱腔中,注重不同板式的變化運(yùn)用和多種裝飾音的巧妙使用；在演唱方法上注重鼻音的運(yùn)用及大本嗓和二本嗓的巧妙結(jié)合；此外,唱詞中常常加入豐富的襯詞,使唱腔更為流暢。其念白特征主要表現(xiàn)幽默風(fēng)趣。滑稽搞笑的身段表演不僅完美地表現(xiàn)了人物形象,而且也展示出丑角中“丑”的一面。從中可以看出,無論是唱腔、念白,還是身段動(dòng)作表演,形象地表現(xiàn)人物的同時(shí),也凸顯著幽默滑稽的特質(zhì)。 在第四章中,主要是從美學(xué)層面對(duì)牛得草表演藝術(shù)的美學(xué)特征—丑而不丑、丑中見美,進(jìn)行解讀。其主要包括兩大部分：一是“丑而不丑、丑中見美”美學(xué)特征的形成原因分析,在此寫了中西方審丑歷程的演變過程,由最初的審“美”階段,到承認(rèn)“丑”階段,再到審“丑”階段,說明了人們的審美不再局限在“美’上,而注重“美”與“丑”的統(tǒng)一。另外,牛得草之所以形成“丑而不丑,丑中見美。的品格特質(zhì),除了蕭長(zhǎng)華老師的指導(dǎo),還受到豫劇觀眾群體的審美需求和動(dòng)蕩的社會(huì)環(huán)境的影響。第二部分是從視覺、聽覺,以及所扮演的人物形象三個(gè)方面解讀了牛得草表演藝術(shù)的美學(xué)特征,即“丑而不丑、丑中見美。” 最后為本文的結(jié)論部分,主要是對(duì)本文觀點(diǎn)的概括與總結(jié)。
[Abstract]:This article takes Niu Decao performing art as the object, respectively from the introduction, the Niu Decao art life, the Niu Decao performance art and the Niu Decao performance art esthetics characteristic-ugliness but not ugliness, ugliness sees the beauty in four aspects to carry on the discussion. In the introduction of this paper, the author discusses the origin of this subject because of the lack of research on the art of Niu School in the theoretical circle at present, the purpose of which is to examine the performing art of Niu Decao from the perspective of theory through the study of performing art of Niu Decao. It also makes up for the deficiency of the research of Niu School art in the theoretical circle at the same time. In addition, the introduction also writes about the present situation of the research and the methods used in the research. In the second chapter, mainly through Niu Decao from the experience of art and the artistic achievements of Niu Decao two aspects to write. One from the art experience from Niu Decao wandering along the Yellow River, in the field of clowns, and experienced twists and turns and brilliant three aspects to write. Niu Decao's artistic achievements mainly include the creation of Niu School, the important position of his works, the contribution of Niu Decao in the teaching of opera, and the contribution of creating a new tune and arranging the script. In the third chapter, it mainly analyzes Niu Decao's performing art. Respectively from the singing, read white and body movement performance to describe. Among them, Niu Decao's singing features are shown as follows: in singing, attention is paid to the use of variations in different forms and the clever use of various decorative sounds; in singing methods, attention is paid to the use of nasal sounds and the clever combination of large and second voices; in addition, Singing words often add rich contrast words to make the singing more fluent. Its reading white features mainly show humor and humor. The funny performance not only perfectly shows the character, but also shows the ugly side of the clown. It can be seen that, whether singing, reading white, or body movement performance, the image of the characters, but also highlights the funny characteristics of humor. In the fourth chapter, the aesthetic characteristics of Niu Decao's performing art are mainly analyzed from the aesthetic level-ugliness but not ugliness, ugliness and beauty. It mainly includes two parts: first, the aesthetic characteristics of "ugliness but not ugliness, ugliness see beauty" are analyzed, and the evolution of the course of appreciation of ugliness between China and the West is written, from the initial stage of reviewing "beauty" to the stage of admitting "ugliness". At the stage of judging ugliness, it shows that people's aesthetics is no longer confined to "beauty", but the unity of "beauty" and "ugliness" is emphasized. In addition, Niu Decao formed "ugly and not ugly, ugliness see beauty." Besides the guidance of Xiao Changhua, the character of Henan opera is influenced by the aesthetic needs of the audience and the turbulent social environment. The second part interprets the aesthetic characteristics of Niu Decao's performing art from three aspects of vision, hearing, and character image, that is, "ugliness but not ugliness, ugliness sees beauty in ugliness". The last part is the conclusion of this paper, mainly the summary and summary of the views of this paper.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J825

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