传统戏曲舞蹈的身体语言研究

发布时间：2018-06-05 00:45

本文选题：戏曲舞蹈 + 身体语言　；参考：《中国艺术研究院》2017年博士论文

【摘要】：本文是对传统戏中戏曲舞蹈身体语言的溯源、定位、分析与总结。全文围绕“身体语言”这一核心,首先对戏曲舞蹈身体语言的历史形态进行梳理,以确立戏曲舞蹈身体语言的本质特征,在分析戏曲舞蹈程式化语言体系的生成方式与构建原则、以及其外部形态的表达方式与风格倾向之后,尝试运用中国古典美学原则,挖掘传统戏曲舞蹈身体语言中所蕴涵的审美范式与身体文化。《戏曲舞蹈身体语言研究》包括五章:第一章是对戏曲舞蹈身体语言历史形态的梳理,以对戏曲舞蹈发生发展的资料性考辨为基础,将其历史发展过程定为四个阶段:萌芽期、雏形期、定型期与多元期,从阶段的划分中可以看出,戏曲舞蹈语言机制的定型与成熟要晚于戏曲艺术发展的步调,戏曲舞蹈作为从属于戏曲表演规律的纯肢体语言的表现形式,其内部体系的建构与完善必然以戏曲艺术的诞生、剧种的出现、表演流派的林立与戏曲表演体系的建立为前提。第二章是对戏曲舞蹈身体语言基本特征的研究,通过他律性与自律性的研究视角,总结出戏曲舞蹈身体语言是在遵循虚拟性表演方式的前提下,以唱腔念白为语义参照、以锣鼓经为节奏依托、以脚色行当为身份定位、以戏剧情节为表演核心,所形成的一套程式化的身体言说系统,它是从属于戏曲表演规律,却有着自身特点和独特价值的舞蹈语言体系。第三章主要分析戏曲舞蹈身体语言的内部构成与生成方式,从戏曲舞蹈程式的“点、线”两大基本要素着手,继而划分出戏曲舞蹈程式的六大类型以及动作程式的建构原则,探寻其内在规律性的生成方式,最终在语境的设定、知法犯法的艺术原则与表演、接受的共在关系的促进下,以实现戏曲舞蹈身体语言的创造性使用。第四章探讨的是戏曲舞蹈可被观察到的外部形态。从戏曲演员的身体四信号——五官、手、躯干和脚出发,分析身体显要部位的语言形态与语义指向性,并从空间的维度上,使肢体的“言说”范围延伸到与身体肌肤相连的服饰道具,从而在受情感驱动的身体支配下,彰显出戏曲服饰道具所具有的语言价值与情感魅力。随着这种身体表达方式的逐渐完善与成熟,便形成了一种理想形态的艺术风格,体现出和而不同的发展理念。第五章重在挖掘戏曲舞蹈感性形式背后的理性原则,并尝试运用中国古典美学原则,诸如形与神、情与境、阴与阳的美学范畴,探寻传统戏曲舞蹈身体语言蕴含的民族文化精神与审美范式。本文对传统戏曲舞蹈理论形态的全面总结与归纳,既是对当前戏曲舞蹈理论研究的补充与拓展,更是为今后戏曲舞蹈的丰富与发展,或戏曲表演体系的建构与完善树立可参的理论依据。
[Abstract]:This paper is to trace, position, analyze and summarize the body language of traditional opera dance. This paper focuses on the core of "body language", firstly combing the historical form of body language of opera dance, in order to establish the essential characteristics of body language of traditional Chinese opera dance. After analyzing the formation and construction principles of the stylized language system of traditional Chinese opera and dance, as well as the expression mode and style tendency of its external form, this paper tries to apply the principles of Chinese classical aesthetics. Explore the aesthetic paradigm and body culture contained in the body language of traditional opera dance. The study of body language in Drama Dance includes five chapters: the first chapter is to sort out the historical form of body language of traditional opera dance. On the basis of the textual research on the occurrence and development of traditional Chinese opera and dance, the historical development process is divided into four stages: budding stage, embryonic stage, formative stage and pluralistic stage, which can be seen from the division of stages. The formalization and maturity of the language mechanism of traditional Chinese opera dance is later than the pace of the development of traditional Chinese opera art. As a form of expression of pure body language subordinate to the law of opera performance, the construction and perfection of its internal system is bound to be the birth of opera art. The emergence of drama, performance schools and the establishment of opera performance system as the premise. The second chapter is to study the basic characteristics of the body language of traditional Chinese opera dance. From the perspective of heteronomy and self-discipline, it concludes that the body language of traditional Chinese opera dance is based on the virtual performance mode and the semantic reference of singing white. Relying on the gongs and drums as the rhythm, acting as the identity, acting as the core of the dramatic plot, it forms a stylized body speech system, which is subordinate to the performance law of the opera. But has its own characteristics and unique value of the dance language system. The third chapter mainly analyzes the internal composition and generation of the body language of traditional Chinese opera dance, starts with the two basic elements of "point and line", and then divides the six types of opera dance program and the principle of construction of action program. In order to realize the creative use of the body language of traditional Chinese opera dance, the author explores the way of its inherent regularity, and finally realizes the creative use of the body language of traditional Chinese opera and dance under the setting of context, the artistic principle and performance of knowing law and breaking the law, and the promotion of the relationship between accepting and breaking the law. The fourth chapter explores the external forms of opera dance that can be observed. Starting from the four signals of the body of the opera actor-five features, hands, torso and feet, this paper analyzes the linguistic form and semantic directivity of the prominent body parts, and from the dimension of space, The range of "speech" of the body is extended to the clothing props connected with the body skin, so that under the control of the body driven by emotion, the language value and emotional charm of the costume props in the opera are revealed. With the gradual perfection and maturity of this body expression, an ideal artistic style is formed, which embodies the development idea of harmony but different. The fifth chapter focuses on exploring the rational principles behind the perceptual forms of drama dance, and tries to apply the Chinese classical aesthetic principles, such as form and spirit, emotion and environment, Yin and Yang aesthetic categories. To explore the spirit of national culture and aesthetic paradigm contained in the body language of traditional opera and dance. In this paper, the comprehensive summary and induction of the traditional opera dance theory is not only the supplement and development of the current opera dance theory, but also the enrichment and development of the opera dance in the future. Or the construction and improvement of opera performance system to establish the theoretical basis for reference.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J805

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