本文選題：傾聽 + 五感信息　； 參考：《上海戲劇學(xué)院》2010年碩士論文

【摘要】： 在戲劇表演中獲得有機(jī)交流的關(guān)鍵在于傾聽。表演中的傾聽是一個(gè)廣義的概念,指演員接受五感信息,通過內(nèi)心產(chǎn)生藉以驅(qū)動(dòng)反動(dòng)作的體驗(yàn)的過程。五感信息是演員產(chǎn)生體驗(yàn)的基本素材,來源于五覺對(duì)于世界的感知。古人用于自稱的漢字“吾”——“五口”正描繪了這種五感打開,充分接受五感信息的狀態(tài)。五感信息本身并無意義,需要內(nèi)心——意識(shí)加以處理后才能產(chǎn)生意義和體驗(yàn),因此傾聽是從“吾”到“悟”的過程。要獲得/找回表演交流中的傾聽能力,需要去除蒙蔽五感和內(nèi)心的“聽障”。自我意識(shí)、日常生活中過度的感官刺激和只專注于預(yù)想的對(duì)象的習(xí)慣是蒙蔽五感的障礙;刻意地“創(chuàng)造”體驗(yàn)和“再生”體驗(yàn),是阻礙內(nèi)心在自然地產(chǎn)生體驗(yàn)的障礙。去除障礙后,還需要學(xué)習(xí)傾聽的對(duì)象和技巧。按照五感信息來源的分別——來自當(dāng)下的外界或是身體內(nèi)部的“記憶倉(cāng)庫(kù)”,傾聽分成外聽和內(nèi)聽兩種。Anne Bogart和Tina Landau的“九個(gè)身體視點(diǎn)”對(duì)于傾聽的對(duì)象做出了細(xì)化而有效的歸類,藉此使得演員借助有意識(shí)的傾聽手段,逐漸養(yǎng)成下意識(shí)的傾聽習(xí)慣。此外,傾聽不僅僅使一種舞臺(tái)技巧,更是一種演員的職業(yè)道德。
[Abstract]:The key to organic communication in theatrical performances is listening. Listening in performance is a broad concept. It refers to the process of actors receiving the information of five senses and generating inner feelings to drive the experience of counter-action. The information of five senses is the basic material for actors to produce experience and comes from the perception of the five senses to the world. The ancient Chinese character "Wu"-"five mouth" depicts the state of the five senses opening and fully accepting the five senses information. The five senses information itself has no meaning and needs to be dealt with by the inner consciousness before it can produce meaning and experience, so listening is the process from "I" to "realization". To gain / recover listening skills in performing communication, you need to remove the five senses of hoodwinking and the inner hearing barrier. Self-awareness, excessive sensory stimulation in daily life and the habit of focusing only on preconceived objects are obstacles to blinding the five senses; deliberately "creating" and "regenerating" experiences are obstacles to the natural production of experience within the heart. After removing obstacles, you also need to learn listening objects and skills. According to the difference between the sources of information of the five senses-the "memory warehouse" that comes from the outside world or the inner body of the body, Listening is divided into external listening and internal listening. Anne Bogart and Tina Landau's "Nine body Viewpoints" make a detailed and effective classification of listening objects, which enables actors to gradually develop the habit of subconscious listening by means of conscious listening. In addition, listening is not only a stage skill, but also an actor's professional ethics.
【學(xué)位授予單位】：上海戲劇學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J812.1

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