虎美玲豫剧表演艺术研究

发布时间：2018-02-02 03:59

本文关键词： 虎美玲豫剧表演艺术美学特征互动研究　出处：《河南大学》2014年硕士论文　论文类型：学位论文

【摘要】：以行腔铿锵、酣畅淋漓、粗犷豪放又不失大气端庄而居于地方剧种之首的河南豫剧,从其发端之时就不乏优秀的、唱念做打俱佳的演员。百余年来,豫剧在历史的发展与流变之中,衍生出以五位核心人物为代表的流派：常派(常香玉)、崔派(崔兰田)、陈派(陈素贞)、马派(马金凤)、阎派(阎立品)。而作为豫剧表演艺术的中生代,常派唱腔的优秀代表人物,虎美玲当之无愧地成为其中坚力量,她以五十多年的艺术实践和舞台经历书写着一段关于豫剧传统与现代、继承与发展、沿革与创新的探索之路。本文试图从四个方面解析虎美玲在河南豫剧表演艺术方面所做出的成就和产生的深远影响,采用音乐美学的研究方法解构其所进行的艺术创造与艺术革新,深入分析其立足常派声腔根基之上所做大胆改革与创新之处,探寻虎美玲豫剧表演艺术与民族声乐教育之间的互动关系,为河南豫剧表演艺术中和民族声乐教育的发展寻求更为宽泛的发展空间,文章共分五部分。第一部分绪论,介绍本文的研究缘由、研究现状及研究意义。第二部分为虎美玲的从艺经历和艺术成就。以时间顺序为脉络,以人生历程为主线,分析和整理虎美玲五十余年所走过的艺术之路,梳理出虎美玲的艺术人生。第三部分为虎美玲豫剧表演艺术的教育实践。从培养豫剧表演艺术人才、创办豫剧教育基地和助力豫剧走进高校三个方面展现虎美玲对豫剧事业如何向更高、更深、更多元发展提出的思考和做出的贡献。第四部分《新白蛇传》中虎美玲豫剧表演艺术的美学特征。采用美学的研究方法,解析虎美玲自创剧目所关照的用“情”之美,以戏曲艺术表演中对于“至情”和“真情”的追求为切入点分析虎美玲豫剧表演艺术中的美学特征；针对《新白蛇传》中对传统程式化表演的消解,阐释虎美玲豫剧表演艺术中现代美与传统美的和谐统一。第五部分为虎美玲豫剧表演艺术与民族声乐之间的互动研究。真假声混合唱法是常派唱腔的特征之一,也是虎美玲在豫剧声腔演唱过程中的自我吸收和提炼,虎美玲的演唱荫受前人,却也自成一家。而“假声位置真声唱法”是笔者受益颇深的一种科学的发声方法,是民族声乐教育教学研究过程中与河南豫剧有着千丝万缕关联的一项科研成果。研究虎美玲豫剧表演艺术和民族声乐之间从互相认同、互相借鉴、互相沟通、互相促进到谋求共同发展的互动轨迹,分析两者之间相辅相成的互动关系是研究民族声乐和戏曲表演艺术的有益尝试。结论部分,意在指出中国传统文化艺术的生存与发展已经发生了巨大的变化,如何通过对虎美玲及其在传统文化艺术的历史承载方面所作出的努力得到启示,如何进一步谋求中国民族声乐自身发展的良性空间,以促进民族声乐的不断丰富与进步,是文章写作的初衷与动力所在。
[Abstract]:Henan Henan Opera, which is sonorous, hearty, bold and dignified, is the first of the local operas. From its inception, Henan Opera has been excellent, singing and reading to be a good actor. For more than a hundred years. In the course of the development and evolution of the history of Henan opera, there are five schools represented by five key characters: Chang Xiangyu, Cui (Cui Lantian), Chen (Chen Suzheng) and Ma Jinfeng. Yan faction (Yan Li-ping), as the Mesozoic period of Henan opera performing art, often sent the outstanding representative figure of singing, Hu Meiling deserved to become its backbone. With more than 50 years of artistic practice and stage experience, she wrote about the tradition and modernity, inheritance and development of Henan Opera. This paper attempts to analyze Hu Meiling's achievements and far-reaching influence in Henan Henan opera performance art from four aspects. Using the research method of music aesthetics to deconstruct its artistic creation and artistic innovation, and deeply analyze its bold reform and innovation based on the foundation of Chang-pai vocal cavity. This paper explores the interactive relationship between Hu Meiling's performing arts and national vocal music education and seeks a broader development space for the development of Henan Henan opera performing arts and ethnic vocal music education. The article is divided into five parts. The first part is introduction, introduces the research reason, the research present situation and the research significance. The second part is Hu Meiling's artistic experience and artistic achievement. Taking the sequence of time as the thread and the course of life as the main line, the author analyzes and arranges the artistic road that Hu Meiling has walked for more than 50 years. Carding out Hu Meiling's artistic life. The third part is the educational practice of the performing arts of Hu Meiling Henan opera. From the three aspects of training the talent of Henan opera performing arts, establishing the educational base of Henan opera and helping Henan opera to enter the university, we can see how Hu Meiling has a higher sense of the cause of Henan opera. Deeper, more pluralistic development puts forward thinking and contributions. In the 4th part of the New White Snake Biography, the aesthetic features of the performing arts of Hu Meiling's Henan Opera are analyzed. The aesthetic research method is used to analyze the beauty of the "emotion" which is taken care of by Hu Meiling's self-created plays. This paper analyzes the aesthetic characteristics of Hu Meiling's Henan opera performing art from the pursuit of "the best feelings" and "the true feelings" in the performance of traditional Chinese opera. In view of the deconstruction of traditional stylized performances in New White Snake Biography, this paper expounds the harmony and unity of modern beauty and traditional beauty in the performing arts of Hu Meiling's Henan Opera. The 5th part is a study of the interaction between Hu Meiling's performing arts and national vocal music. The mixed singing of authentic and false singing is one of the characteristics of the canto, and it is also the self-absorption and extraction of Hu Meiling in the singing process of Henan opera. Hu Meiling's singing shade by the predecessors, but also a family. And "false position of the true singing" is the author of the deep benefit of a scientific voice method. It is a scientific research achievement which is closely related to Henan Henan Opera in the process of teaching and teaching of national vocal music. The study of Hu Meiling Henan opera performance art and national vocal music from mutual identification, mutual reference, mutual communication. It is a beneficial attempt to study the national vocal music and the performing arts of opera to promote each other to seek the interactive track of common development and analyze the interaction relationship between the two. The conclusion part is intended to point out that the existence and development of Chinese traditional culture and art has undergone tremendous changes, how to get enlightenment from Hu Meiling and his efforts in the historical bearing of traditional culture and art. How to further seek the benign space for the development of Chinese national vocal music in order to promote the continuous enrichment and progress of national vocal music is the original intention and motive force of writing the article.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J825

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