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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/6176


    Title: 戲曲表演功法之研究--以崑京表演藝術為範疇;Performer's Craft of Traditional Opera: A Study on Kunqu and Peking Opera
    Authors: 張育華;Yua-Hua Chang
    Contributors: 化學研究所
    Keywords: 戲曲傳藝方法;表演功法;演員藝能;演員藝術修養;performer’s craft;stage techniques;training methods;artistic
    Date: 2008-12-22
    Issue Date: 2009-09-22 10:14:49 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 演員的形體,是戲劇行動的基礎,是角色舞台生命的展示工具,無論中西,沒有一種表演體系不注重研究演員形體的表現方法。而中國戲曲劇場的核心精神,無疑是以「演員藝能」為主體形象,戲曲演員涵融表演功法之內蘊修為,是彰顯場上演劇品調的施展基礎,從而落實在一切劇場手法之中。 本文所論之表演功法,意指以戲曲演技規範為核心,透過戲曲傳藝方法及體現人物之目標,貫徹戲曲演員藝術修養的完整呈現。其中既有表演實踐原理的理性探求,也包含對藝術美學理想的感性體悟,致力從傳統人文內涵的普世價值,來深掘戲曲表演形象亙古彌新之內蘊。因而,戲曲表演功法之關涉範疇,含括層面相當廣泛,其錯縱複雜的有機內涵,是中華民族戲劇文化思維的成熟體現。有鑑於此,本論文之研究方法,將統合表演理論與實踐析論交相照映,以「表演功法」為主軸,擬定七項探討專題,將戲曲表演側重「功法」培訓之學理思維,作為掘發其體系原理與發展規律之探討重點。分別就其理論要義、傳藝方法、人物體現、排場因應、詮釋發展、劇場實踐、借鑑效能等特殊面向,探究演員表演藝術養成與蛻變之核心課題,來總體勾勒戲曲表演功法志在超脫技術表象、所深層揭示的藝術內涵。 The body of actor is either the foundation of theatrical action or the embodiment of character’s soul. Both Oriental and West stage practice emphasis on the expression of actor’s body. However, the heart of Chinese theater undoubtedly rests on performer’s craft. The stage techniques of traditional opera performers transform inner choreographic cultivation into every step of stage presentation. The stage technique discussed in this thesis refers to an integrated presentation of the artistic accomplishment of performers, which is based on formalized action, by means of inherited trainings and embodiment of characters. It involves major issues such as the rational exploration of acting principles and the sensible understanding of aesthetic quality in searching for universal value of theatrical performance from traditional artistic accomplishment. That is to say, the versatility of stage technique of traditional theater reflects the mature representation of traditional theatrical culture. The methodology of this thesis intends to juxtapose performing theories and stage practice. Focusing on “stage technique”, there are seven aspects: theoretical study, training methods, exemplary figures, modes of expression, development, stage practice, experience application. By the search for the essence of cultivation of performers I would like to sketch out the innermost artistic nature of traditional theatrical craft.
    Appears in Collections:[化學研究所] 博碩士論文

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