《沉沉的厝里情》“朝花”舞段表演的情感体验与反思

发布时间：2018-04-25 00:04

本文选题：舞蹈表演 + 情感体验　；参考：《北京舞蹈学院》2017年硕士论文

【摘要】：“剧场有种特别的氛围,在全黑的环境中,我们只看到和专注于光亮的地方,容易沉浸在更深层次的大脑活动中,有想象,有联想,有补充,有思考。”1演员作为舞台呈现的主体,不仅是传递编导思想的“工具”,更重要的是在自己创造性的演绎作品的同时,引领观众进入作品所设定的情境,从而使观众产生“共情”式的深层次思考。因此作为演员应在充分了解编导思想的前提下,从内部到外部进行角色体验,不仅要从生活中提取相似的情感经历,还要积极的发挥想象力创造力,与作品中的角色情感相融合,从体验到体现,准确地塑造出鲜活的舞台形象,诠释作品情感真义。本文以《沉沉的厝里情》“朝花”为具体案例,总结本人的表演体验与反思,目的是为了让表演者能够更积极的投入到表演中,通过舞台形象创作的过程,从台前的准备到最终舞台的呈现,不断地经过内心的转化与融合从角色体验到角色塑造,更好地传递编导的思想为观众呈现“有血有肉”的作品。
[Abstract]:"Theater has a special atmosphere, and in a dark environment, we only see and focus on bright places, and we tend to immerse ourselves in deeper brain activity, with imagination, associations, and additions. The actor, as the main body of the stage presentation, is not only a tool to convey the choreographer's ideas, but also leads the audience into the situation set by the work while performing the work creatively. In order to make the audience "empathy" type of deep thinking. Therefore, as an actor, under the premise of fully understanding the choreographer's thoughts, the role experience from inside to outside should not only extract similar emotional experience from life, but also actively exert imagination and creativity. Combining with the emotion of the characters in the works, from the experience to the embodiment, the vivid stage image can be created accurately and the true meaning of the emotion in the works can be interpreted. In this paper, the author takes "Chaohua" as a concrete case to summarize his performance experience and introspection, in order to enable the performer to be more actively involved in the performance and through the stage image creation process. From the preparation in front of the stage to the presentation of the final stage, through the transformation and fusion of the inner heart, from the role experience to the role shaping, the author can better convey the ideas of the director to present the works of "flesh and blood" for the audience.
【学位授予单位】：北京舞蹈学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J705

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