發(fā)布時(shí)間：2018-05-07 07:01

  本文選題：戲曲服飾 + 可舞性�。� 參考：《南京航空航天大學(xué)》2010年碩士論文

【摘要】： 戲曲服飾的形式與表演中的舞蹈成份有著密切的關(guān)系,戲曲中的唱、念、做、打都離不開(kāi)舞蹈身段。戲曲和舞蹈有著很深的親緣關(guān)系,元代戲曲壁畫、明刻本《荷花蕩》等這些形象資料表明,戲曲服飾的可舞性,是隨著戲曲表演中舞蹈化水平的不斷提高而被逐漸凸顯起來(lái)的。 戲曲服飾的可舞性有助于生動(dòng)塑造戲曲人物的外部形象;有利于揭示戲曲人物最能傳神的本質(zhì)特征,表現(xiàn)人物氣質(zhì),外化人物心理和情緒;有助于演員的歌舞化表演,從而有助于增強(qiáng)舞蹈動(dòng)作的表現(xiàn)力,增強(qiáng)戲曲表演中的舞蹈性。戲曲服飾可舞性的形式美表現(xiàn)為點(diǎn)的顫動(dòng)、線的軌跡、面的寬松、體的增擴(kuò)和面料的剛?cè)岵?jì);而這些點(diǎn)、線、面、體、質(zhì)的運(yùn)用,促成了戲曲服飾的可舞性趨于多樣化的發(fā)展。戲曲服飾的日益精美,是由于程式、裝飾等構(gòu)成要素隨著外因而改變的結(jié)果,而這些變化,始終受到寫意美學(xué)原則的總體支配。因而,盡管發(fā)生了種種變化和發(fā)展,戲曲服飾仍保持著程式性、可舞性的美學(xué)特征。 隨著時(shí)代的發(fā)展,戲曲的改革也致使戲曲服飾面臨著革新。服飾的革新應(yīng)該是基于傳統(tǒng),以程式思維為先導(dǎo),遵循寫意美學(xué)的原則,保持服飾的可舞性、程式性和裝飾性的美學(xué)特征。然而,隨著外來(lái)文化和市場(chǎng)經(jīng)濟(jì)的沖擊,戲曲服飾在某些改革中保持美學(xué)特征方面做得欠妥,很多設(shè)計(jì)以革新為名,淡化了三南美學(xué)特征,削弱了戲曲服飾原有的藝術(shù)表現(xiàn)功能。戲曲服飾藝術(shù)正處于前所未有的藝術(shù)發(fā)展的交匯點(diǎn)上。
[Abstract]:The form of opera dress is closely related to the dance composition in the performance. The singing, reading, doing and playing in the opera can not be separated from the dance style. There is a deep relationship between opera and dance. These image materials, such as the frescoes of the Yuan Dynasty operas, the Ming inscription of Lotus Dang and so on, show that the dance ability of opera costumes is gradually highlighted with the continuous improvement of the level of dance in opera performances. The dance ability of opera dress is helpful to vividly portray the external image of the opera characters, to reveal the most vivid essential characteristics of the opera characters, to express the character temperament, to externalize the psychology and emotion of the characters, and to help the actors to sing and dance their performances. Thus, it helps to enhance the performance of dance movements and dance performance. The formal beauty of the dance of traditional Chinese opera dress is the quiver of the point, the track of the line, the looseness of the face, the enlargement of the body and the softness of the fabric; and the use of these points, lines, surfaces, bodies and quality, Contributed to the dance of opera costumes tend to diversify the development. The increasing fineness of traditional Chinese opera dress is the result of the change of composition such as formula and decoration with external factors, and these changes are always dominated by the aesthetic principles of freehand brushwork. Therefore, in spite of all kinds of changes and developments, opera costumes still maintain the aesthetic characteristics of formality and dance. Along with the development of the times, the reform of opera also causes the costume of opera to be innovated. The innovation of dress should be based on tradition, guided by program thinking, follow the principle of freehand brushwork aesthetics, and maintain the aesthetic characteristics of dance, programming and decoration. However, with the impact of foreign culture and market economy, traditional Chinese opera costumes have been poorly done in some reforms to maintain aesthetic characteristics. Many designs have played down the aesthetic characteristics of Sannan in the name of innovation. It weakens the original artistic expression function of opera dress. Opera costume art is at the intersection of unprecedented art development.
【學(xué)位授予單位】：南京航空航天大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J816

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本文編號(hào)：1855890