【摘要】：戲劇表演藝術(shù)是表演現(xiàn)人的生活,體現(xiàn)人的生命的一種綜合藝術(shù)形式。用人來表現(xiàn)人,從而傳達出具有普遍意義的社會問題。因此在舞臺創(chuàng)造中演員的表演是至關(guān)重要的。演員要利用自己來作為創(chuàng)作材料,通過形體、語言、情感的表達等手段,展現(xiàn)出劇中的人物性格,體現(xiàn)出人物的靈魂。這一切的表達都是基于演員的性格化的創(chuàng)造基礎(chǔ)上的,所以演員在表演中做到人物體現(xiàn)的性格化是非常重要的。如何運用性格化的方法,創(chuàng)造出性格化的人物形象,這一理論的研究對演員表演創(chuàng)造的指導(dǎo)作用,理論價值,深刻意義都有待于我們在實踐中不斷的理解、認(rèn)識、開掘。 性格化創(chuàng)作是一種表演方法。在戲劇的各個流派的發(fā)展與理論中都對這一方法的理論有所涉及�？梢娫谖枧_上對人物形象的性格化創(chuàng)造是戲劇表演藝術(shù)的生命。如果沒有了人物的性格創(chuàng)造,演員表現(xiàn)的不是活生生的人,而是行尸走肉一般的軀殼,戲劇表演也將失去其存在的意義。本文將從對“表現(xiàn)派”與“體驗派”的表演理論分析入手,根據(jù)對兩個流派的理解,挖掘出適合自己的表演創(chuàng)造方法。 首先在文章的第一章從對演員進行性格化創(chuàng)造的重要性談起,在當(dāng)前很多演員的表演滿足于一般化,他們的創(chuàng)造力和魅力不足,經(jīng)常是自己表演自己。使得創(chuàng)造出的角色沒有鮮明的性格特征、平淡、不夠真實、缺乏表現(xiàn)力,難以在觀眾心理扎根。他們最根本原因是對于性格化的認(rèn)識不足,沒有意識到好的、性格化的表演對于整個演出的重要意義。然后從重要性談出我對于性格化表演的一點認(rèn)識。第二章從“表現(xiàn)派”與“體驗派”的表演理論中,找出它們各自關(guān)于性格化創(chuàng)造的方法,并根據(jù)自己的理解對兩個流派各自的方法進行的分析。最后一章是通過這幾年在表演教學(xué)中的經(jīng)驗及對各個流派的研究后的一個總結(jié),闡述了我自己對于性格化創(chuàng)造方法的一些認(rèn)識與運用。從中借鑒了“表現(xiàn)派”的“構(gòu)思”人物形象、“體驗派”的情感體驗方法、戲曲表演中一些適用于話劇表演的內(nèi)容還有焦菊隱大師提出的重要理論“心象”學(xué)說中的方法。最終目的是找到性格化創(chuàng)造的最好的途徑,為塑造鮮明的人物形象,展現(xiàn)人物靈魂的性格化奠定基礎(chǔ)。
[Abstract]:Theatrical performing art is a comprehensive art form of performing people's life and embodying human life. Use people to represent people and thus convey social problems of universal significance. Therefore, the performance of actors and actresses in stage creation is crucial. Actors and actresses should use themselves as creative materials to show the character and soul of the characters by means of body, language and emotion. All these expressions are based on the creation of the actor's personality, so it is very important for the actor to embody the character in the performance. How to use the method of personality to create the character image, this theory research to the actor performance creation instruction function, the theory value, the profound significance all waits for us in the practice unceasingly understanding, the excavation. Character creation is a kind of performance method. The theory of this method is involved in the development and theory of various schools of drama. It can be seen that the creation of characters on the stage is the life of theatrical performing art. Without the character creation, the actors do not represent the human beings, but the dead bodies, and the theatrical performances lose their meaning. This article will start from the performance theory analysis of "performance school" and "experience school", according to the understanding of the two schools, excavate the suitable acting creation method. In the first chapter of the article, we begin with the importance of creating the character of the actors. At present, many actors are satisfied with the generalization of their performances, their creativity and charm are not enough, and they often perform themselves. So that the created characters have no distinct character characteristics, dull, not true, lack of expressiveness, difficult to take root in the psychology of the audience. The most fundamental reason is that they are not aware of the importance of good, characterizing performance to the whole performance. Then from the importance of talking about my personality performance a little understanding. In the second chapter, from the performance theory of "expressionism" and "experiential school", the author finds out their own methods of personality creation, and analyzes the methods of the two schools according to their own understanding. The last chapter is a summary of the experience in performance teaching and the study of various schools in the past few years, expounding my own understanding and application of the method of personality creation. It draws lessons from the "conception" character image of "expressive school", the emotional experience method of "experiential school", the content of drama performance and the method of "mind vision" theory put forward by Master Jiao Juyin. The ultimate aim is to find the best way to create the character and lay the foundation for the creation of the distinct character and the display of the character soul.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J812

【共引文獻】

相關(guān)期刊論文 前10條

1 楊柏嶺;;唐宋詞中建筑的特色及其作用[J];安徽師范大學(xué)學(xué)報(人文社會科學(xué)版);2010年03期

2 余萍;汪yN;;冷色中的春意 春意中的希望——淺析電影《立春》的藝術(shù)特色[J];安徽文學(xué)(下半月);2008年07期

3 尹德勝;;劇作中的人物性格和戲劇情境[J];安徽文學(xué)(下半月);2009年05期

4 陳文娟;王秀芬;;菲爾丁的小說《湯姆·瓊斯》中的戲劇特征分析[J];安徽文學(xué)(下半月);2009年12期

5 鄒榮學(xué);;取道性格,師法自然——黃梅戲《徽州女人》高潮戲中的戲劇技巧[J];安慶師范學(xué)院學(xué)報(社會科學(xué)版);2011年12期

6 翁瑜;;從《禁閉》看薩特“境遇劇”的哲學(xué)意蘊[J];安順學(xué)院學(xué)報;2010年03期

7 趙璐浩;;吉勒莫·阿里加的電影劇作結(jié)構(gòu)研究[J];北京電影學(xué)院學(xué)報;2007年05期

8 陳軍;;論北京人藝對老舍戲劇創(chuàng)作的影響[J];北京社會科學(xué);2006年03期

9 徐健;;新時期北京人藝研究述評[J];北京社會科學(xué);2009年03期

10 陳軍;;論曹禺戲劇對北京人藝演劇風(fēng)格的影響[J];北京社會科學(xué);2011年02期

相關(guān)會議論文 前1條

1 舒艷艷;;《李自成》寫人藝術(shù)的對比和曲筆[A];紀(jì)念姚雪垠百年誕辰學(xué)術(shù)研討會暨中國新文學(xué)學(xué)會第26屆年會論文集[C];2010年

相關(guān)博士學(xué)位論文 前10條

1 賀彩虹;笑的解碼[D];山東師范大學(xué);2011年

2 余禮鳳;雅俗之間：徐，

本文編號：2274185