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戏曲表演的节奏化这一特点,历来为人重视。欧阳予倩就曾经说过:“京戏的最大特点,……节奏特别鲜明。”梅兰芳大师也曾说过:戏曲“是建筑在歌舞上面的。一切动作和歌唱,都要配合场面上的节奏而形成它的规律。”而焦菊隐则直接把戏曲形式的特征概括为:程式化、虚拟化、节奏化。在戏曲表演中,节奏关系着能否准确的表现剧情内容、深刻感染和诱导观众、增强戏曲形式的表现力等重要问题,而整个剧情节奏的中心又是在于表演节奏。因此,如何处理好戏曲表演节奏就成为事关演出成败和质量高低的重要环节。所以,我认为作为戏曲演员需要特别重视表演节奏的处理原则和方法问题,这样才能更好地把握和塑造人物,使艺术形象更加完美富有表现力,更加符合时代的潮流。
The rhythm of opera performances has always been valued by people. Ouyang Yuqian once said: “The most distinctive feature of Beijing Opera is ... the rhythm is so distinctive.” Master Mei Lanfang once said: The opera “is built on top of song and dance. All movements and singing must be coordinated with the tempo of the scene And form its law. ”And Jiao Ju hidden directly to the characteristics of the form of drama summarized as: stylized, virtual, rhythm. In the performance of the opera, the rhythm relates to the accurate representation of the contents of the story, profound infection and induction of the audience, and enhancement of the expressiveness of the opera form. The whole rhythm of the plot, in turn, lies in the performance rhythm. Therefore, how to deal with the rhythm of theatrical performances has become an important part of the success or failure of performances. Therefore, I think that as an opera actress, we need to pay special attention to the handling principles and methodological issues of performing rhythms, so that we can better grasp and shape figures and make the artistic image more perfect and expressive and more in line with the trend of the times.