本文選題：蒲劇 + 地方戲��； 參考：《藝術(shù)科技》2016年06期

【摘要】：蒲劇作為地方戲藝術(shù),珍貴之處就在于源于生活。所以作為蒲劇演員,更需要細(xì)心體味生活。如果我們僅僅把舞臺演出看成是不得不去完成的匠藝任務(wù),那樣就會忽視人物角色的情感歸宿,必然造成遠(yuǎn)離生活,最終也必然形成表演上的臉譜化、程式化,甚至虛假、失真!由此可見,蒲劇演員的舞臺表演必須遵循角色(人物)的情感邏輯和生活軌跡,按照自然法則賦予人物妥帖、真摯的情感。只有如此才能擺脫刻板的舞臺程式束縛,才能塑造出豐滿鮮活、有血有肉的舞臺人物。
[Abstract]:As a local opera art, the prized place is the origin of life. So as a PU opera actor, it needs to be more careful and savor life. If we only regard the stage performance as a craftsman task that we have to complete, we will ignore the emotional return of the characters, make it far away from life, and eventually form the face of the performance. It can be seen that the stage performance of the cattail actors must follow the emotional logic and the life track of the characters (characters), and give the characters and sincere emotions in accordance with the laws of nature. Only in this way can we get rid of the stereotyped stage binding of the stage to shape the full and lively stage characters.
【作者單位】： 三門峽市陜州區(qū)蒲劇團(tuán);
【分類號】：J825

【相似文獻(xiàn)】

相關(guān)期刊論文 前3條

1 斯坦尼斯拉夫斯基,何紀(jì)華;舞臺是演示生活的場所[J];戲文;2000年02期

2 王三陽;;淺談處理潛臺詞時(shí)的難點(diǎn)[J];吉林藝術(shù)學(xué)院學(xué)報(bào);2010年06期

3 ;[J];;年期

，

本文編號：1999715