本文選題：動(dòng)物性能源 + 身體　； 參考：《上海師范大學(xué)》2017年碩士論文

【摘要】：鈴木忠志作為梅耶荷德、布萊希特、彼得布魯克、羅伯特威爾遜等十位引領(lǐng)二十世紀(jì)戲劇的大師中的唯一一名亞洲戲劇導(dǎo)演,因其開(kāi)創(chuàng)的獨(dú)特演員訓(xùn)練法能夠很好地挖掘演員的原始能量,即文中所述的“動(dòng)物性能源”,鈴木方法早已在國(guó)際戲劇圈備受推崇。近年來(lái)因與中國(guó)頻繁合作,受到了中國(guó)戲劇圈的廣泛關(guān)注,也因其對(duì)日本傳統(tǒng)文化的傳承與發(fā)展,引發(fā)了中國(guó)戲劇人的思考與好奇,但由于缺乏研究、了解的途徑,不解與誤解也隨之而來(lái)。筆者通過(guò)與鈴木忠志本人多年的合作,深入調(diào)查和了解了鈴木劇團(tuán),親身實(shí)踐了鈴木方法,近距離研究觀察了鈴木戲劇,并多方采訪(fǎng)了鈴木忠志及相關(guān)戲劇藝術(shù)家,試圖探究鈴木方法對(duì)演員身體能量及對(duì)演員戲劇精神的雙重鍛造,嘗試發(fā)現(xiàn)鈴木劇團(tuán)能夠位列世界一流的專(zhuān)業(yè)原因和鈴木戲劇樣式的獨(dú)特性,以及鈴木戲劇與現(xiàn)實(shí)主義戲劇融會(huì)貫通的交叉點(diǎn)。此外,筆者還通過(guò)對(duì)鈴木忠志劇團(tuán)及其訓(xùn)練方法和戲劇的了解、分析,探索現(xiàn)代戲劇與中國(guó)傳統(tǒng)文化結(jié)合方式的問(wèn)題所在,當(dāng)代戲劇教學(xué)所面臨的困難,以及戲劇藝術(shù)與社會(huì)商業(yè)化的抗?fàn)幣c矛盾等。并將鈴木戲劇樣式與斯坦尼斯拉夫斯基、格羅托夫斯基、留比莫夫、雅克·勒考克等戲劇風(fēng)格樣式進(jìn)行對(duì)比,分析各自方法的差異和共通點(diǎn),從中尋找出訓(xùn)練和提高演員身體及精神的方法和途徑。
[Abstract]:Suzuki Chushi, the only Asian drama director leading the twentieth Century drama by ten masters such as Meelho De, Bly Hitt, Peter Brooke and Robert Wilson, has been able to excavate the original energy of the actor well, that is, "animal energy" as described in the article. The SUZUKI method has already been used. The International Drama circle is highly respected. In recent years, because of frequent cooperation with China, it has received extensive attention from the Chinese drama circle, and because of its inheritance and development of traditional Japanese culture, it has aroused the thinking and curiosity of Chinese dramatist. But because of the lack of research, the way of understanding and misunderstanding also followed. The author has passed to Suzuki Chushi himself. The year of cooperation, in-depth investigation and understanding of the SUZUKI troupe, a personal practice of the SUZUKI method, the close study of the study of SUZUKI drama, and many interviews with Suzuki Chushi and related dramatic artists, trying to explore the energy of the actor's body and the double forging of the actor's drama spirit, and try to find that the SUZUKI troupe can be listed in the world. First class professional reasons and the uniqueness of the SUZUKI drama style, and the intersection of SUZUKI drama and realism drama. In addition, the author also explores the problems of the combination of modern drama and Chinese traditional culture through the understanding of Suzuki Chushi's troupe and its training methods and plays, and the aspect of contemporary drama teaching. The difficulties of the coming, the struggle and contradiction between the theatrical art and the commercialization of the society, and the comparison of the dramatic styles of the SUZUKI drama style with Kniss Ralph J Ki, Gro Torfs Ki, leaving MOV and Jacques lcok, and analyzing the differences and common points of their respective methods, looking for training and improving the body and spirit of the actors. Methods and ways.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J812.1

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本文編號(hào)：2086366