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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4373

    Title: 京劇小生藝術研究--以葉盛蘭為論述對象;The Research of the Xiao-Sheng of Beijing Opera—Take Sheng-Lan Yeh as the Research Object
    Authors: 黃琦;Chi Huang
    Contributors: 中國文學研究所
    Keywords: 葉派小生;京劇小生;京劇;大小嗓;葉盛蘭;Xiao-sheng (young male role);Sheng-lan Yeh;Sheng-lan Yeh’s performance style;Beijing Opera;The natural voice and falsetto voice
    Date: 2008-06-02
    Issue Date: 2009-09-22 09:17:44 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 京劇表演研究中,少有以小生演員為主討論的論文,因小生非京劇發展之主流。富連成科班出生的葉盛蘭,是京劇史上唯一以小生挑梁、組班的名角,擁有深厚的基本功底與藝術天份,創下許多小生劇目,代表作如:《群英會》、《轅門射戟》、《白門樓》、《羅成》、《周仁獻嫂》、《柳蔭記》、《白蛇傳》、《得意緣》等。 本文論述京劇小生藝術,以葉盛蘭為探討對象,研究方法採書面文獻蒐集與歸納、訪談相關人士,做為參考依據之外,更輔以葉盛蘭演出錄音資料分析,探討其藝術成就、影響與貢獻。 文中先對葉盛蘭一生自坐科、拜師、搭班、自組育化社、加入國家劇團等藝術等經歷進行梳理,再確立其對小生一行表演藝術之提昇、京劇小生劇目增加等貢獻。並指出其表演設計注重從人物出發、並融合自身文武兼善的才能,影響今日小生演員須是全能型的表演者,而葉盛蘭嗓音之特色,以「龍虎鳳」三音結合,展現小生的陽剛氣質,遂成今日京劇小生形象普遍的審美觀。 葉盛蘭使小生在京劇圈的地位提昇,塑造了小生人物的典型。希冀本文探討葉盛蘭創作過程與經驗之結果,能對當代京劇小生藝術發展有所助益。 Sheng-lan Yeh is the only national actor who plays “Xiao-sheng” as leading role in the performances even though “Xiao-sheng” has not been much discussed in the paper since it is mostly the supporting role in the plays in Beijing Opera. Sheng-lan Yeh has his professional training from “Fu Lian Cheng Troupe” and founded “Yu Hua Troupe”. He has excellent foundation skills with good talent in Beijing Opera performances. He creates so many performances with “Xiao-sheng” as the leading role, such as: Zhou Yu, Liu Bu, Zhao Yun (The Romance of Three Kingdoms, San Guo Yan Yi), Luo Cheng (Sui Tang Yan Yi), Xu Xian (The Legend of White Snake, Bai She Zhuan), and Liang Shan Bo (The Butterfly Lovers). This paper is focused on Sheng-lan Yeh’s performance, recorded and analyzed his artistic achievements, influences, and contributions. The thesis discuss his life from joining troupe and taking lessons from the master, joining other troupes for performances, until he founds “Yu Hua Troup” and become the national actor. His performances enrich the role “Xiao-sheng”, and when he designs a play, he starts from characters first. Because of his multi-talents in performances, he raises the level of the role “Xiao-sheng”- the actors have to be multi talents, and their voice can present all “Dragon voice”, “Tiger voice”, and “Phoenix voice” (describing natural voice and falsetto voice as the voice of animals). These components become the standards for critiques to judge whether this actor is a good “Xiao-sheng” or not. Sheng-lan Yeh’s artistic life and experiences on both acting and play writing, and wish to benefit the development of the role “Xiao-sheng”, and broaden the research dimension on Beijing Opera.
    Appears in Collections:[中國文學研究所] 博碩士論文

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