本文選題：河南 + 越調(diào)��； 參考：《新疆師范大學(xué)》2010年碩士論文

【摘要】：越調(diào)是河南地方三大劇種之一,歷史悠久,以唱、念、做、打、舞戲曲程式為表演形式,以河南方言為劇詞基本腔調(diào),能夠表現(xiàn)恢弘的場面,也能表現(xiàn)柔婉的情景,既能塑造英雄、威猛的藝術(shù)形象,也能塑造柔情哀怨的藝術(shù)形象,有著獨(dú)特的表演風(fēng)格和群眾基礎(chǔ),是一個文化資源豐富、學(xué)科領(lǐng)域廣泛并有著極高研究價值和保留價值的劇種。本文分四個部分對越調(diào)劇種進(jìn)行了闡述。 第一部分:河南越調(diào)的發(fā)展歷程和文獻(xiàn)回顧。發(fā)展歷程部分從清乾隆時期開始敘述到20世紀(jì)八十年代商品經(jīng)濟(jì)時代的到來,越調(diào)受到巨大沖擊,幸虧各藝術(shù)大師的不懈努力,越調(diào)又開始發(fā)展起來;文獻(xiàn)回顧部分從介紹越調(diào)源流、唱腔、生存現(xiàn)狀與解決方案三部分進(jìn)行回顧。 第二部分:河南越調(diào)的唱腔藝術(shù)特色。此部分介紹了越調(diào)的分支、戲詞特點(diǎn)、唱腔、角色行當(dāng)和劇目特色。越調(diào)有上路調(diào)和下路調(diào)兩個分支;戲詞運(yùn)用河南方言,并以十字句和七字句為主要句式;唱腔上本來是曲牌體,后來又變?yōu)榘迩惑w;越調(diào)行當(dāng)齊全,生、旦、凈、丑各具特色;越調(diào)劇目部分把越調(diào)劇目分為傳統(tǒng)劇目、移植劇目和新創(chuàng)劇目三部分。 第三部分:河南越調(diào)的各時代代表人物及其演唱特點(diǎn)。共分早期、六七十年代、八九十年代三個時期進(jìn)行闡述。 第四部分:河南越調(diào)的現(xiàn)狀及思考。這一部分分析了河南越調(diào)的現(xiàn)狀,分析了劇本、演員、劇團(tuán)管理與政府扶植三個方面的原因,并由此反思自己聲樂學(xué)習(xí)的努力方向。
[Abstract]:Yue Diao is one of the three major local operas in Henan. It has a long history, with singing, reciting, doing, playing and dancing opera as the performing form, and Henan dialect as the basic accent of the opera words. It can represent a grand scene and also a soft and gentle scene. It can not only shape the heroic and powerful artistic image, but also create the tender and sad artistic image. It has a unique performance style and mass foundation, and is rich in cultural resources. A wide range of disciplines with high research value and retention value. This article is divided into four parts to elaborate the drama of Yue tune. The first part: the development course and literature review of Henan Yue-Diao. Part of the development process from the Qianlong period of Qing Dynasty to the arrival of the commodity economy era in the eighties of the 20th century, the more the tone suffered a huge impact, thanks to the unremitting efforts of various masters of art, the tone began to develop again; Literature review part from the introduction of the source, singing, survival status and solutions to review three parts. The second part: Henan Yue tune singing art characteristics. This part introduces the branch of Yue tune, the character of the play, the singing, the role and the feature of the repertoire. There are two branches on the road and the next; the opera words use Henan dialect, and take the cross sentence and the seven-character sentence as the main sentence pattern; the singing is originally a songcard style, but later it becomes a board cavity; the Yue tune business is complete, health, denier, net, ugly each has its own characteristics; In the part of Yue-tune repertoire, it is divided into three parts: traditional repertoire, transplant repertoire and newly created repertoire. The third part: the representative characters and singing characteristics of each era in Henan Yue-Diao. It is divided into three periods: the early period, the 60 s and the 70 s, and the 80 s and 90 s. The fourth part: the present situation and thinking of Henan Yue-Diao. This part analyzes the current situation of Henan Yue, analyzes the script, actors, troupe management and government support three reasons, and reflects on their own vocal music learning efforts.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J825

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 蘇全有;劉振興;;建國以來河南近代戲曲史研究述評[J];周口師范學(xué)院學(xué)報;2013年01期

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本文編號：2089496