形体语言与中西方戏剧表演的精神和传统

发布时间：2018-05-01 07:35

本文选题：形体语言 + 戏剧表演　；参考：《哈尔滨师范大学》2011年硕士论文

【摘要】：艺术是人类特有的行为方式,作为艺术重要的形式。在戏剧表演中,形体语言既是非常重要的艺术手段,也是构筑人物形象的重要的物质材料,在戏剧中,形体语言与口头语言共同承担着传递信息、交流感情的任务,同时还对口头语言产生很大的加强作用,产生比口头语言更能震撼观众的作用,产生不言而喻的效果,起到一切尽在不言中的作用。形体语言深刻地蕴含并体现了戏剧的本质和精神。首先,形体语言使戏剧的文学性同一般文学样式有了本质的区别;戏剧的剧场性属性则更是与形体语言息息相关;戏剧的冲突性也更多地借助形体语言来完成,演员的形体语言在塑造人物性格、人物与人物之间由于性格所追求的目的不同而展开的矛盾斗争等方面具有口头语言所不具备的优势。形体语言比口头语言代表着更高层次的戏剧本质和精神。在所有艺术门类中,戏剧,具有身体性。只有身体性而没有其它戏剧元素的戏剧是可以成立的,而反之,具备其它所有戏剧元素单缺身体的戏剧是不可能成立的。戏剧的身体性在于:第一,它是身体在场的(最表层意义上的身体性),演观双方的共同身体在场,缺一不可,并且其各种程度上的互动,构成戏剧的最根本要素:剧场性;第二,身体作为戏剧资源的被开发。形体语言由于中西方戏剧传统的不同,而在理念、地位和发展轨迹上存在着差异。形成了“剧场观众”与“剧本读者”两个虽相互联系但判然有别的戏剧系统。这两种迥然不同的戏剧观念直接导致了形体语言在各自戏剧传统和表演系统中的差异。在这样的背景下,形体语言对于戏剧本身的意义,以及对于演员表演在中西方这两种迥异的戏剧传统所带来的新的拓展空间本身就成为一个值得深入研究的课题。论文的第一部分深入地探究形体语言对于戏剧本质和精神的意义;论文的第三部分重新梳理形体语言在中国和西方戏剧传统中的观念认识和发展轨迹;论文的第三部分则并探讨形体语言在现代语境的中西方戏剧表演中所应承载的价值和功能、各自面临的问题和解决之道。
[Abstract]:Art is a unique human behavior, as an important form of art. In theatrical performance, body language is not only a very important artistic means, but also an important material material to construct character image. In drama, body language and oral language jointly undertake the task of transmitting information and exchanging feelings. At the same time, it also has a strong effect on the oral language, which can shock the audience more than the oral language, produce the self-evident effect, and play a role in all words. Body language deeply embodies the essence and spirit of drama. First of all, body language makes the literary nature of drama different from the general literary style; the theatrical nature of drama is closely related to the body language; the conflict of drama is also more accomplished by body language. The body language of actors has advantages that oral language does not have in shaping character and in contradictory struggles between characters because of their different aims. Body language represents a higher level of drama essence and spirit than oral language. In all categories of art, drama is physical. Drama with only physical nature and no other dramatic elements can be established, whereas drama with all the other elements of drama without body can not be established. The body of drama lies in: first, it is the body of the presence (the most superficial sense of the body, the performance of both sides of the common body presence, indispensable, and its various levels of interaction, constitute the most fundamental elements of drama: theater; Secondly, the body is exploited as a drama resource. Body language is different in concept, position and development track because of the difference of Chinese and western drama tradition. Theater audience and Screenplay readers are connected but there are other theatrical systems. These two different concepts of drama directly lead to the difference of body language in their theatrical traditions and performance systems. In this context, the meaning of body language to the drama itself and the new expansion space brought about by the actor's performance in the two different theatrical traditions between China and the West have become a subject worthy of further study. The first part explores the significance of body language to the essence and spirit of drama, the third part rearranges the concept understanding and development track of body language in the tradition of Chinese and western drama. The third part discusses the value and function of body language in modern Chinese and western theatrical performances, the problems they face and the solutions to them.
【学位授予单位】：哈尔滨师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J812

【参考文献】