本文選題：王愛愛 + 表演��； 參考：《山西師范大學(xué)》2012年碩士論文

【摘要】：王愛愛是我國(guó)著名的晉劇表演藝術(shù)家，被譽(yù)為“晉劇皇后”。在她近六十年的藝術(shù)生涯中，不僅創(chuàng)造了眾多栩栩如生的女性藝術(shù)形象，同時(shí)她創(chuàng)立的獨(dú)樹一幟的“愛愛腔”在山西大地乃至全國(guó)廣為流傳，可謂是戲曲花園里的一朵奇葩。 本文從王愛愛的學(xué)藝生涯入手，著重對(duì)她的表演風(fēng)格來源、唱腔藝術(shù)特色和獨(dú)特的女性人物塑造三個(gè)方面進(jìn)行了論述和分析。 緒論里面以重要的晉劇演員為線索對(duì)晉劇的發(fā)展歷程進(jìn)行了簡(jiǎn)要的勾勒。 第一章敘述了王愛愛跟隨奶奶筱桂花艱辛的學(xué)藝過程。在戲曲舞臺(tái)上嶄露頭角之后繼承了前輩藝人的唱腔精華的基礎(chǔ)上、融合自己獨(dú)特的體悟，最終創(chuàng)立了“愛愛腔”。創(chuàng)作中根據(jù)時(shí)代的需求而對(duì)劇本進(jìn)行一定的整理與創(chuàng)新，從而更適于現(xiàn)代觀眾的需求。王愛愛在專心于表演的同時(shí)還總結(jié)了晉劇青衣旦角的表演特色，對(duì)年輕藝人的學(xué)習(xí)具有重要指導(dǎo)作用。 第二章中論述了王愛愛的三位授業(yè)恩師對(duì)她的不同影響。祖母筱桂花作為王愛愛的啟蒙老師通過言傳身教，把自己的表演藝術(shù)傾囊相授，，并且強(qiáng)化了自己的弱點(diǎn)而成為王愛愛的長(zhǎng)處。亦師亦友的程玉英，以自己獨(dú)創(chuàng)“嗨嗨腔”啟示王愛愛重視人物性格和情感變化對(duì)于唱腔的控制和運(yùn)用。晉劇大師牛桂英通過自己的言行使王愛愛認(rèn)識(shí)到藝術(shù)家對(duì)于藝術(shù)的不懈追求，并把自己對(duì)于發(fā)音吐字、唱腔、表演等方面的經(jīng)驗(yàn)和心得毫無保留的介紹給王愛愛，王愛愛在發(fā)揮自身天賦的基礎(chǔ)上，學(xué)習(xí)牛桂英的藝術(shù)特點(diǎn)，創(chuàng)制了自己獨(dú)特的“愛愛腔”。 第三章中從唱、念、做三個(gè)方面結(jié)合王愛愛在戲曲表演來論述她表演藝術(shù)特色。 第四章中從王愛愛創(chuàng)造的眾多藝術(shù)形象中選取秦香蓮、沈后、王寶釧、陳三兩、青蘭五位具有鮮明個(gè)性特征的藝術(shù)形象，以此為基礎(chǔ)來論述王愛愛對(duì)人物性格的把握，對(duì)角色創(chuàng)造。 第五章總結(jié)了王愛愛的戲曲美學(xué)特征，并就王愛愛的藝術(shù)實(shí)踐來探討對(duì)于戲曲發(fā)展過程中傳承與創(chuàng)新。
[Abstract]:Wang Aiai is a famous performing artist of Jin Opera in China and is known as the Queen of Jin Opera. In her nearly sixty years of artistic career, she not only created many vivid female artistic images, but also created a unique "love and love" widely spread in Shanxi land and even throughout the country, is a wonderful flower in the opera garden. Starting with Wang Aiai's academic career, this paper discusses and analyzes three aspects of her acting style, singing art characteristics and unique female characters. In the introduction, the author gives a brief outline of the development of Jin opera with the important actors of Jin opera as the clue. The first chapter describes the difficult process of Wang Aiai following her grandmother Xiao Guisei. On the basis of inheriting the singing essence of the previous generation artists, he fuses his own unique understanding and finally creates the Love and Love Chamber. According to the needs of the times, the script is arranged and innovated in order to meet the needs of the modern audience. While concentrating on the performance, Wang Aiai also summarizes the performance characteristics of Ching Yi Dan Kok in Jin Opera, which plays an important guiding role in the study of young artists. The second chapter discusses the different influences of Wang Aiai's three teachers. As Wang Aiai's first teacher, Grandma Shinoki taught her performing arts through words and deeds, and strengthened her weaknesses to become Wang Aiai's strength. Cheng Yuying, who is also a teacher and friend, reveals that Wang Aiai attaches importance to the control and application of character and emotional changes in singing. Niu Guiying, the master of Jin Opera, made Wang Aiai realize the artist's unremitting pursuit of art through his words and deeds, and introduced to Wang Aiai his experience and experience in pronunciation, singing, performance and so on. On the basis of giving full play to his own talent, Wang Aiai learned the artistic characteristics of Niu Guiying and created his own unique "love cavity". The third chapter discusses the characteristics of Wang Aiai's performance from three aspects: singing, reading and doing. The fourth chapter selects Qin Xianglian, Shen Hou, Wang Baochuan, Chen Sanliang and Qinglan five artistic images created by Wang Aiai as the basis to discuss Wang Aiai's grasp of the character of the characters. Character creation. The fifth chapter summarizes the aesthetic characteristics of Wang Aiai's opera, and discusses the inheritance and innovation of Wang Aiai's artistic practice.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J825

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