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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/64889

    Title: 京劇旦行表演傳承與對話——以陳德霖、王瑤卿與梅蘭芳、程硯秋為例;The inheritance and dialectic in Dan of Jing-ju: The discussion of Chen De-lin, Wang Yao-qing, Mei Lan-fang, and Cheng Yan-qiu
    Authors: 黃兆欣;Huang,Chao-hsin
    Contributors: 中國文學系
    Keywords: 身體;認同;京劇旦行;傳承系統;body;identification;Dan in Jing-ju;inheritance system
    Date: 2014-07-22
    Issue Date: 2014-10-15 14:32:54 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 本研究以「身體」(body)的角度重探京劇旦行表演藝術本質。在傳統戲曲嚴謹的師承體系追溯中,梳理傳統表演功法技巧的演變過程,刨掘表演風格與流派技巧成形的各種因素。京劇旦行是由男性建立的表演系統,如何化解自我與社會對於生理性別轉換扮演所產生的疑慮,是演員們的畢生課題;然而民國後,各種文化衝擊與國家動蕩更是他們難以抗衡的強大力量,自我與體制始終不斷地相互拉扯。由是京劇旦行表演藝術在唯美純熟的技巧中,更是蘊藉著演員自身與文化社會交相辯證關係。
    傳承系統的討論是本文研究架構的建立依據,亦是影響旦行美學發展的關鍵例證,由此分支出行當功法技巧、表演風格與演員自我認同的議題:在功法與行當的成形上,陳德霖與王瑤卿分別代表的青衣與花衫,是旦行表演發展成熟的轉捩點:其中陳德霖所塑造的正宗青衣於唱腔完備與典範建立,是旦行演員跳脫相公堂子時期色藝問題的肇始;而王瑤卿則是在表演技巧上廣泛吸收,務以生動的人物詮釋充實旦行表演藝術。兩人之間亦師亦友的相對發展,是演員選擇如何面對大環境以成就自我的方式,這種關係到了梅蘭芳與程硯秋則又更為顯著,進而在功法的繼承與變應上,衍生了演員自我認同的論述。相較於陳、王,梅與程的發展有著更為複雜的社會變遷、更為激烈的市場競爭,兩人的藝術進程是種對話關係,亦揭示了演員的自我覺知,旦行於是得以超乎性別意識的窠臼,提昇至藝術化和人文關懷的領域。而梅、程之間的對話則又凸顯了程硯秋積極參與社會運動的獨特性,然1949年後政治體制全然不同以往,藝術家如何於思想、美學的拑制中掙脫或妥協,又是新一課題。本研究於此以程硯秋收尾,意在收攏、聚焦演員的自我認同,亦是京劇旦行身體從自我、劇場,再到政治社會的示現。;This thesis is to research from the point of view of “ Body” to discuss the essence of the performing art of the Dan/旦 in Jing-ju/京劇, and to analyze the factors and effects in the process of developing the performing technics of the Dan in Jing-ju. Males, who construct the performing art of Dan in Jing-ju, and try to overcome the embarrassment of the trans-gender acting. However, the country fell in political turbulence and culture impact after 1912. So there is the dialectical and intricate relationship in the Jing-ju actors’ technics between the society and the culture.
    The structure of this thesis will be based on the discussion of the inheritance system that influenced the aesthetic development in the Dan. Therefore, the themes of this thesis will also discuss the performing technics of the Hang-dang/行當, the style, and the actors’ identification. Role of “Qing-yi/青衣” that was developed by Chen De-lin/陳德霖 and “Hua-shan/花衫” developed by Wang Yao-qing王瑤卿 were the turning point of the Dan, especially Chen is the key person who let the role of Dan free from the image of “Xiang-gong/相公” through establishing the unique singing skill and performance. Wang absorbed varies performing art style and technics to make the performing art of Dan in Jingju more vivid and substantial. These relationship were just like the competition between master and apprentice, especially it was more apparent between Mei Lan-fan/梅蘭芳 and Cheng Yan-qiu/程硯秋. It also aroused the theory of self-identification, and also the inheritance of their performing art. In fact, Mei and Cheng also faced with more complicated social change and competition, this special interaction also upgrading their technics to the fields of humanism. This research will conclude in Cheng’s performing art, that focus on actor’s self-identification, that is, the performing art of “body” of Dan from the point of view through themselves, theater and political society.
    Appears in Collections:[Graduate Institute of Chinese Literature] Electronic Thesis & Dissertation

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