本文選題：戲曲舞蹈 + 身體語言�。� 參考：《中國藝術(shù)研究院》2017年博士論文

【摘要】：本文是對傳統(tǒng)戲中戲曲舞蹈身體語言的溯源、定位、分析與總結(jié)。全文圍繞“身體語言”這一核心,首先對戲曲舞蹈身體語言的歷史形態(tài)進行梳理,以確立戲曲舞蹈身體語言的本質(zhì)特征,在分析戲曲舞蹈程式化語言體系的生成方式與構(gòu)建原則、以及其外部形態(tài)的表達方式與風格傾向之后,嘗試運用中國古典美學原則,挖掘傳統(tǒng)戲曲舞蹈身體語言中所蘊涵的審美范式與身體文化。《戲曲舞蹈身體語言研究》包括五章:第一章是對戲曲舞蹈身體語言歷史形態(tài)的梳理,以對戲曲舞蹈發(fā)生發(fā)展的資料性考辨為基礎(chǔ),將其歷史發(fā)展過程定為四個階段:萌芽期、雛形期、定型期與多元期,從階段的劃分中可以看出,戲曲舞蹈語言機制的定型與成熟要晚于戲曲藝術(shù)發(fā)展的步調(diào),戲曲舞蹈作為從屬于戲曲表演規(guī)律的純肢體語言的表現(xiàn)形式,其內(nèi)部體系的建構(gòu)與完善必然以戲曲藝術(shù)的誕生、劇種的出現(xiàn)、表演流派的林立與戲曲表演體系的建立為前提。第二章是對戲曲舞蹈身體語言基本特征的研究,通過他律性與自律性的研究視角,總結(jié)出戲曲舞蹈身體語言是在遵循虛擬性表演方式的前提下,以唱腔念白為語義參照、以鑼鼓經(jīng)為節(jié)奏依托、以腳色行當為身份定位、以戲劇情節(jié)為表演核心,所形成的一套程式化的身體言說系統(tǒng),它是從屬于戲曲表演規(guī)律,卻有著自身特點和獨特價值的舞蹈語言體系。第三章主要分析戲曲舞蹈身體語言的內(nèi)部構(gòu)成與生成方式,從戲曲舞蹈程式的“點、線”兩大基本要素著手,繼而劃分出戲曲舞蹈程式的六大類型以及動作程式的建構(gòu)原則,探尋其內(nèi)在規(guī)律性的生成方式,最終在語境的設(shè)定、知法犯法的藝術(shù)原則與表演、接受的共在關(guān)系的促進下,以實現(xiàn)戲曲舞蹈身體語言的創(chuàng)造性使用。第四章探討的是戲曲舞蹈可被觀察到的外部形態(tài)。從戲曲演員的身體四信號——五官、手、軀干和腳出發(fā),分析身體顯要部位的語言形態(tài)與語義指向性,并從空間的維度上,使肢體的“言說”范圍延伸到與身體肌膚相連的服飾道具,從而在受情感驅(qū)動的身體支配下,彰顯出戲曲服飾道具所具有的語言價值與情感魅力。隨著這種身體表達方式的逐漸完善與成熟,便形成了一種理想形態(tài)的藝術(shù)風格,體現(xiàn)出和而不同的發(fā)展理念。第五章重在挖掘戲曲舞蹈感性形式背后的理性原則,并嘗試運用中國古典美學原則,諸如形與神、情與境、陰與陽的美學范疇,探尋傳統(tǒng)戲曲舞蹈身體語言蘊含的民族文化精神與審美范式。本文對傳統(tǒng)戲曲舞蹈理論形態(tài)的全面總結(jié)與歸納,既是對當前戲曲舞蹈理論研究的補充與拓展,更是為今后戲曲舞蹈的豐富與發(fā)展,或戲曲表演體系的建構(gòu)與完善樹立可參的理論依據(jù)。
[Abstract]:This paper is to trace, position, analyze and summarize the body language of traditional opera dance. This paper focuses on the core of "body language", firstly combing the historical form of body language of opera dance, in order to establish the essential characteristics of body language of traditional Chinese opera dance. After analyzing the formation and construction principles of the stylized language system of traditional Chinese opera and dance, as well as the expression mode and style tendency of its external form, this paper tries to apply the principles of Chinese classical aesthetics. Explore the aesthetic paradigm and body culture contained in the body language of traditional opera dance. The study of body language in Drama Dance includes five chapters: the first chapter is to sort out the historical form of body language of traditional opera dance. On the basis of the textual research on the occurrence and development of traditional Chinese opera and dance, the historical development process is divided into four stages: budding stage, embryonic stage, formative stage and pluralistic stage, which can be seen from the division of stages. The formalization and maturity of the language mechanism of traditional Chinese opera dance is later than the pace of the development of traditional Chinese opera art. As a form of expression of pure body language subordinate to the law of opera performance, the construction and perfection of its internal system is bound to be the birth of opera art. The emergence of drama, performance schools and the establishment of opera performance system as the premise. The second chapter is to study the basic characteristics of the body language of traditional Chinese opera dance. From the perspective of heteronomy and self-discipline, it concludes that the body language of traditional Chinese opera dance is based on the virtual performance mode and the semantic reference of singing white. Relying on the gongs and drums as the rhythm, acting as the identity, acting as the core of the dramatic plot, it forms a stylized body speech system, which is subordinate to the performance law of the opera. But has its own characteristics and unique value of the dance language system. The third chapter mainly analyzes the internal composition and generation of the body language of traditional Chinese opera dance, starts with the two basic elements of "point and line", and then divides the six types of opera dance program and the principle of construction of action program. In order to realize the creative use of the body language of traditional Chinese opera dance, the author explores the way of its inherent regularity, and finally realizes the creative use of the body language of traditional Chinese opera and dance under the setting of context, the artistic principle and performance of knowing law and breaking the law, and the promotion of the relationship between accepting and breaking the law. The fourth chapter explores the external forms of opera dance that can be observed. Starting from the four signals of the body of the opera actor-five features, hands, torso and feet, this paper analyzes the linguistic form and semantic directivity of the prominent body parts, and from the dimension of space, The range of "speech" of the body is extended to the clothing props connected with the body skin, so that under the control of the body driven by emotion, the language value and emotional charm of the costume props in the opera are revealed. With the gradual perfection and maturity of this body expression, an ideal artistic style is formed, which embodies the development idea of harmony but different. The fifth chapter focuses on exploring the rational principles behind the perceptual forms of drama dance, and tries to apply the Chinese classical aesthetic principles, such as form and spirit, emotion and environment, Yin and Yang aesthetic categories. To explore the spirit of national culture and aesthetic paradigm contained in the body language of traditional opera and dance. In this paper, the comprehensive summary and induction of the traditional opera dance theory is not only the supplement and development of the current opera dance theory, but also the enrichment and development of the opera dance in the future. Or the construction and improvement of opera performance system to establish the theoretical basis for reference.
【學位授予單位】：中國藝術(shù)研究院
【學位級別】：博士
【學位授予年份】：2017
【分類號】：J805

【參考文獻】

相關(guān)期刊論文 前6條

1 賈志剛;;論阿甲的戲曲理論成就[J];戲曲藝術(shù);2008年01期

2 劉青弋;;關(guān)于中國古典舞的基本范疇與概念叢[J];北京舞蹈學院學報;2006年02期

3 阿甲;無窮物化時空過 不斷人流上下場——虛擬的時空,嚴格的程式,寫意的境界[J];文藝研究;1987年04期

4 馬也;;論中國戲曲虛擬表演產(chǎn)生的原因——兼談戲曲舞蹈的審美特性[J];戲劇藝術(shù);1982年04期

5 阿甲;談?wù)劸⿷蛩囆g(shù)的基本特點及其相互關(guān)系——為了研究現(xiàn)代京戲的改革[J];文藝研究;1981年06期

6 潘俠風;楊小樓的“武戲文唱”[J];人民戲劇;1981年07期

相關(guān)博士學位論文 前3條

1 冷鑫;戲曲行當審美研究[D];中國藝術(shù)研究院;2015年

2 董昕;戲曲現(xiàn)代教育改革發(fā)展歷程研究1949-2009[D];中國藝術(shù)研究院;2013年

3 江東;中國古典舞發(fā)展歷程之研究[D];中國藝術(shù)研究院;2008年

，

本文編號：1979632