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  本文選題：民族歌劇 + 戲劇性�。� 參考：《南京藝術(shù)學院》2012年博士論文

【摘要】：歌劇在二十世紀初進入中國本土后，民族歌劇直到新中國初期（1949 1966）才真正具備了自己的品格，成為今天中國歌劇中最具群眾基礎和亮點的特殊類型。她在這段復雜的歷史時期仍然堅持了本土化的最高原則，但在自覺吸收戲曲表演精華和對西方戲劇有益經(jīng)驗的借鑒上卻有了更顯著的特征：形成了以民族唱法為中心、在唱與表中尋求平衡、在寫意與寫實中充分化合。具有經(jīng)典性、啟示性的民族歌劇選段和表導演范式大都出現(xiàn)在此時期，至今膾炙人口，其艱難探索既給后人留下了寶貴經(jīng)驗，也留下了諸多值得深究的問題。這即是筆者探求之目的。 本文以對新中國初期民族歌劇表演藝術(shù)的脈絡梳理為切入點，繼而以代表性表演藝術(shù)家的個案研究為所依，最后在理論建構(gòu)上進行逐層解讀。 以《白毛女》為官方文本和法定前身的民族歌劇在此后的創(chuàng)演中堅持了民族導向性，不懈探求，經(jīng)歷了《小二黑結(jié)婚》、《洪湖赤衛(wèi)隊》和《江姐》為積累期、繁榮期和高峰期三個階段。郭蘭英、王玉珍、萬馥香等先后出現(xiàn)，隨即成為當時觀眾喜愛的對象。 針對上述不同藝術(shù)家的創(chuàng)作經(jīng)歷、體驗及相關(guān)評價，個案研究從觀演關(guān)系上進行逐一論述，側(cè)重探求其對歌劇人物性格和形象的塑造，從而挖掘和整理其各具特色的表演技法與藝術(shù)風格。 通過分析和總結(jié)可見，，這時期民族歌劇在表演上的獨立審美品格扎根于民歌和戲曲等藝術(shù)的深厚土壤，來源的多樣性、包容性使之具有了較強的開放性和豐富性，正是這種滋養(yǎng)的不斷化合，才使其有了無窮的藝術(shù)魅力和時代特征。針對其特有的表演藝術(shù)理念，本文進行了相關(guān)的美學思考，如對民族性與時代感、人物性格的戲劇性表現(xiàn)、聲部分配及表演中相應的類型化和“女強男弱”等問題，則為最后要論述的主要內(nèi)容。 面對今天文化多元化的挑戰(zhàn)，中國歌劇只有兼收并蓄才能不斷創(chuàng)新。如今深情回望建國初期民族歌劇這座“失樂園”，理性的反思將使我們在創(chuàng)作中更好地堅持人文關(guān)懷，而中國歌劇必將再一次贏得人民。是為本文之余論。
[Abstract]:After the opera entered China at the beginning of the 20th century, it was not until the early period of New China (1949 ~ 1966) that the national opera really possessed its own character and became the special type of the most popular and bright spot in the Chinese opera today. During this complicated period of history, she still adhered to the highest principle of localization, but she had a more remarkable characteristic in consciously absorbing the essence of opera performance and drawing lessons from the beneficial experience of western drama: it formed a national singing method as the center. Seek balance between singing and writing, combine freehand brushwork with realism. The classic and enlightening national opera selected paragraphs and the pattern of directing appear in this period, so far, its difficult exploration has left not only valuable experience for future generations, but also a lot of problems worthy of further study. This is the purpose of my exploration. This article is based on the analysis of the national opera performing art in the early period of New China, and then the case study of the representative performing artists. Finally, the theoretical construction is interpreted layer by layer. The national opera, which takes "White-haired Girl" as the official text and legal predecessor, has persisted in the ethno-orientation and unremitting exploration in the later stage, and has gone through a period of accumulation of "Square Black Marriage", "Honghu Red Guard team" and "Jiangjie". Boom and peak periods. Guo Lanying, Wang Yuzhen, Wan fragrance and so on appeared successively, immediately became the audience favorite object at that time. According to the creation experience, experience and related evaluation of the above different artists, the case study discusses one by one from the view and performance relationship, focusing on the exploration of its character and image of opera characters, In order to excavate and collate its each characteristic performance technique and the artistic style. Through the analysis and summary, it can be seen that the independent aesthetic character of the national opera in the performance of this period is rooted in the deep soil of folk songs and operas, the diversity of sources and inclusiveness makes it have a strong openness and richness. It is this constant combination of nourishment, it has infinite artistic charm and characteristics of the times. In view of its unique concept of performing art, this paper has carried on the related esthetics thought, for example, to the nationality and the time feeling, the character's dramatic expression, the voice part assignment and the corresponding type in the performance, and "the female strong male weak" and so on question, and so on. It is the main content to be discussed at last. In the face of the challenge of cultural diversity today, Chinese opera can be innovated only if it is all-embracing. Looking back at the lost Paradise of National Opera in the early days of the people's Republic of China, the rational reflection will make us adhere to the humanistic concern better in our creation, and the Chinese opera will once again win over the people. It is for the sake of this article.
【學位授予單位】：南京藝術(shù)學院
【學位級別】：博士
【學位授予年份】：2012
【分類號】：J822;J616

【引證文獻】

相關(guān)期刊論文 前1條

1 趙金霞;;談民族歌劇演唱中的技巧理論[J];湖南科技學院學報;2013年06期

相關(guān)碩士學位論文 前1條

1 王玨;論四代韓英扮演者藝術(shù)表演的傳承及對中國民族歌劇的啟示[D];華中師范大學;2013年

本文編號：2068285