晉劇表演藝術(shù)家牛桂英研究
發(fā)布時間：2018-11-28 10:57
【摘要】：著名晉劇表演藝術(shù)家牛桂英對晉劇的旦角藝術(shù)進(jìn)行改革和創(chuàng)新，自成一派，取得了巨大的成就。本文以牛桂英為研究對象，主要從唱腔、念白、表演三個方面進(jìn)行論述。 牛桂英改變了晉劇以高亢粗獷為贊，演員追求拔嘹子的疵蕪之處，運(yùn)用鼻腔共鳴，巧用中音區(qū)，形成婉轉(zhuǎn)纏綿、婆娑朦朧的唱腔特點(diǎn)。此外，她對晉劇“哪咦呀哈咳”拖腔的傳統(tǒng)進(jìn)行改革，依字行腔，，以腔帶情，行腔圓潤、吐字清晰，將“滑音”、“顫音”等多種潤腔音群用于拖腔之中，字音遠(yuǎn)送、韻味濃厚，使晉劇進(jìn)一步走向規(guī)范化。 鑒于晉劇演員念白吐字混亂而不規(guī)范的現(xiàn)象，牛桂英將標(biāo)準(zhǔn)的漢語拼音讀音和山西方言的“五聲字調(diào)”相結(jié)合，形成了字正腔圓的“京字晉韻”規(guī)范，使得牛派念白字音清晰、噴口有力，內(nèi)涵飽滿，流暢遠(yuǎn)送，表現(xiàn)出一種清新自然的美。這樣的改革不僅使晉劇具備地方神韻，也可使外地觀眾接受，為晉劇的發(fā)展繁榮提供了廣泛的群眾基礎(chǔ)。 情感抒發(fā)是戲曲藝術(shù)的生命和靈魂。牛桂英對人物形象的塑造，主要體現(xiàn)為不溫不火、唱戲唱情，在塑造人物時把握度與尺寸，并從觀眾的角度去思索，從劇中人物的角度去表現(xiàn)，將自身置身于故事情節(jié)之中，將角色的年齡、身份、背景了解清楚，定位典型環(huán)境中的典型人物，力求準(zhǔn)確把握人物的內(nèi)心世界，再以己之身去體會人物的喜怒哀樂，并融入自己對人物性格的體悟，將“本我”與劇中的“他我”融合起來，帶著真情與激情去詮釋人物的內(nèi)心世界，盡量做到合情合理，塑造出源于生活又高于生活的舞臺形象。 除此之外，本論文還從牛桂英的藝術(shù)生涯、傳統(tǒng)劇目、風(fēng)格成因、人才培養(yǎng)等方面進(jìn)行簡要的敘述，以期能對這位在晉劇史上卓有建樹的藝術(shù)家有一個較為全面、公允的評價，并為后來之秀在技藝上、精神上、理念上樹立榜樣，提供借鑒。
[Abstract]:Niu Guiying, the famous performing artist of Jin opera, has made great achievements in reforming and innovating the art of Dan Jiao of Jin opera. This article takes Niu Guiying as the research object, mainly from singing, reading white, performing three aspects to discuss. Niu Guiying changed the praise of Jin opera to be high and rough, the actors pursued the defects of Liao son, used nasal resonance, skillfully used the baritone area to form the characteristics of melodious and tangled singing. In addition, she reformed the tradition of the drag cavity of the Jin opera "Na-Yi ah Ke". She followed a line of words, with a feeling in the cavity, with a smooth, clear spelling, and used a variety of mellow groups, such as "slippery" and "vibrato", to be used in the drag cavity, and the words and sounds were sent far away. Strong flavor, make Jin opera to further standardization. In view of the confusion and non-standard phenomenon of the actors in the Jin opera reciting white characters, Niu Guiying combined the standard Chinese phonetic pronunciation with the Shanxi dialect's "five-tone" to form a well-formed standard of "Jing Zi Jin rhyme", which made the Niu School's pronunciation of Bai characters clear. The nozzle has the strength, the connotation is full, the smooth far sends, displays a kind of fresh natural beauty. This kind of reform not only makes Jin opera have local charm, but also can be accepted by other audiences, which provides a broad mass basis for the development and prosperity of Jin opera. Emotional expression is the life and soul of opera art. Niu Guiying's portrayal of characters is mainly reflected in the lack of temperature and fire, singing and singing feelings, grasping the degree and size of the characters, thinking about them from the perspective of the audience, expressing themselves from the perspective of the characters in the play, and placing themselves in the storyline. To understand the age, identity and background of the characters, to locate the typical characters in the typical environment, to grasp the inner world of the characters accurately, and then to experience the joys, sorrows and sorrows of the characters with their own bodies, and to integrate their own understanding of the characters. This paper combines "ego" with "he and I" in the play, interprets the inner world of the characters with true feelings and passion, tries to be reasonable, and shapes the stage image which originates from life and is higher than life. In addition, this paper also briefly describes Niu Guiying's artistic career, traditional repertoire, style causes, talent training, and so on, in order to have a more comprehensive and fair evaluation of this artist who has made great achievements in the history of Jin opera. And for the latecomers in the skills, spirit, ideas to set an example, to provide reference.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J825
本文編號：2362636
[Abstract]:Niu Guiying, the famous performing artist of Jin opera, has made great achievements in reforming and innovating the art of Dan Jiao of Jin opera. This article takes Niu Guiying as the research object, mainly from singing, reading white, performing three aspects to discuss. Niu Guiying changed the praise of Jin opera to be high and rough, the actors pursued the defects of Liao son, used nasal resonance, skillfully used the baritone area to form the characteristics of melodious and tangled singing. In addition, she reformed the tradition of the drag cavity of the Jin opera "Na-Yi ah Ke". She followed a line of words, with a feeling in the cavity, with a smooth, clear spelling, and used a variety of mellow groups, such as "slippery" and "vibrato", to be used in the drag cavity, and the words and sounds were sent far away. Strong flavor, make Jin opera to further standardization. In view of the confusion and non-standard phenomenon of the actors in the Jin opera reciting white characters, Niu Guiying combined the standard Chinese phonetic pronunciation with the Shanxi dialect's "five-tone" to form a well-formed standard of "Jing Zi Jin rhyme", which made the Niu School's pronunciation of Bai characters clear. The nozzle has the strength, the connotation is full, the smooth far sends, displays a kind of fresh natural beauty. This kind of reform not only makes Jin opera have local charm, but also can be accepted by other audiences, which provides a broad mass basis for the development and prosperity of Jin opera. Emotional expression is the life and soul of opera art. Niu Guiying's portrayal of characters is mainly reflected in the lack of temperature and fire, singing and singing feelings, grasping the degree and size of the characters, thinking about them from the perspective of the audience, expressing themselves from the perspective of the characters in the play, and placing themselves in the storyline. To understand the age, identity and background of the characters, to locate the typical characters in the typical environment, to grasp the inner world of the characters accurately, and then to experience the joys, sorrows and sorrows of the characters with their own bodies, and to integrate their own understanding of the characters. This paper combines "ego" with "he and I" in the play, interprets the inner world of the characters with true feelings and passion, tries to be reasonable, and shapes the stage image which originates from life and is higher than life. In addition, this paper also briefly describes Niu Guiying's artistic career, traditional repertoire, style causes, talent training, and so on, in order to have a more comprehensive and fair evaluation of this artist who has made great achievements in the history of Jin opera. And for the latecomers in the skills, spirit, ideas to set an example, to provide reference.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J825
【參考文獻(xiàn)】
相關(guān)期刊論文 前5條
1 胡香串;對聲腔藝術(shù)的一些思考[J];當(dāng)代戲劇;2001年05期
2 石生潮;;戲曲創(chuàng)腔手法概說[J];黃鐘.武漢音樂學(xué)院學(xué)報;1992年03期
3 齊紅梅;;晉劇演唱方法探析[J];太原大學(xué)學(xué)報;2010年03期
4 閆飛瑜;;晉劇唱腔中的吐字藝術(shù)之我見[J];太原大學(xué)學(xué)報;2011年01期
5 王小昆;試論我國曲藝唱腔創(chuàng)作方法的現(xiàn)狀與發(fā)展[J];藝術(shù)探索;1992年01期
本文編號：2362636
本文鏈接：http://sikaile.net/wenyilunwen/xijuwudaolunwen/2362636.html
最近更新
教材專著
