新中国初期民族歌剧表演艺术研究（1949-1966）

发布时间：2018-06-26 00:47

本文选题：民族歌剧 + 戏剧性　；参考：《南京艺术学院》2012年博士论文

【摘要】：歌剧在二十世纪初进入中国本土后，民族歌剧直到新中国初期（1949 1966）才真正具备了自己的品格，成为今天中国歌剧中最具群众基础和亮点的特殊类型。她在这段复杂的历史时期仍然坚持了本土化的最高原则，但在自觉吸收戏曲表演精华和对西方戏剧有益经验的借鉴上却有了更显著的特征：形成了以民族唱法为中心、在唱与表中寻求平衡、在写意与写实中充分化合。具有经典性、启示性的民族歌剧选段和表导演范式大都出现在此时期，至今脍炙人口，其艰难探索既给后人留下了宝贵经验，也留下了诸多值得深究的问题。这即是笔者探求之目的。本文以对新中国初期民族歌剧表演艺术的脉络梳理为切入点，继而以代表性表演艺术家的个案研究为所依，最后在理论建构上进行逐层解读。以《白毛女》为官方文本和法定前身的民族歌剧在此后的创演中坚持了民族导向性，不懈探求，经历了《小二黑结婚》、《洪湖赤卫队》和《江姐》为积累期、繁荣期和高峰期三个阶段。郭兰英、王玉珍、万馥香等先后出现，随即成为当时观众喜爱的对象。针对上述不同艺术家的创作经历、体验及相关评价，个案研究从观演关系上进行逐一论述，侧重探求其对歌剧人物性格和形象的塑造，从而挖掘和整理其各具特色的表演技法与艺术风格。通过分析和总结可见，，这时期民族歌剧在表演上的独立审美品格扎根于民歌和戏曲等艺术的深厚土壤，来源的多样性、包容性使之具有了较强的开放性和丰富性，正是这种滋养的不断化合，才使其有了无穷的艺术魅力和时代特征。针对其特有的表演艺术理念，本文进行了相关的美学思考，如对民族性与时代感、人物性格的戏剧性表现、声部分配及表演中相应的类型化和“女强男弱”等问题，则为最后要论述的主要内容。面对今天文化多元化的挑战，中国歌剧只有兼收并蓄才能不断创新。如今深情回望建国初期民族歌剧这座“失乐园”，理性的反思将使我们在创作中更好地坚持人文关怀，而中国歌剧必将再一次赢得人民。是为本文之余论。
[Abstract]:After the opera entered China at the beginning of the 20th century, it was not until the early period of New China (1949 ~ 1966) that the national opera really possessed its own character and became the special type of the most popular and bright spot in the Chinese opera today. During this complicated period of history, she still adhered to the highest principle of localization, but she had a more remarkable characteristic in consciously absorbing the essence of opera performance and drawing lessons from the beneficial experience of western drama: it formed a national singing method as the center. Seek balance between singing and writing, combine freehand brushwork with realism. The classic and enlightening national opera selected paragraphs and the pattern of directing appear in this period, so far, its difficult exploration has left not only valuable experience for future generations, but also a lot of problems worthy of further study. This is the purpose of my exploration. This article is based on the analysis of the national opera performing art in the early period of New China, and then the case study of the representative performing artists. Finally, the theoretical construction is interpreted layer by layer. The national opera, which takes "White-haired Girl" as the official text and legal predecessor, has persisted in the ethno-orientation and unremitting exploration in the later stage, and has gone through a period of accumulation of "Square Black Marriage", "Honghu Red Guard team" and "Jiangjie". Boom and peak periods. Guo Lanying, Wang Yuzhen, Wan fragrance and so on appeared successively, immediately became the audience favorite object at that time. According to the creation experience, experience and related evaluation of the above different artists, the case study discusses one by one from the view and performance relationship, focusing on the exploration of its character and image of opera characters, In order to excavate and collate its each characteristic performance technique and the artistic style. Through the analysis and summary, it can be seen that the independent aesthetic character of the national opera in the performance of this period is rooted in the deep soil of folk songs and operas, the diversity of sources and inclusiveness makes it have a strong openness and richness. It is this constant combination of nourishment, it has infinite artistic charm and characteristics of the times. In view of its unique concept of performing art, this paper has carried on the related esthetics thought, for example, to the nationality and the time feeling, the character's dramatic expression, the voice part assignment and the corresponding type in the performance, and "the female strong male weak" and so on question, and so on. It is the main content to be discussed at last. In the face of the challenge of cultural diversity today, Chinese opera can be innovated only if it is all-embracing. Looking back at the lost Paradise of National Opera in the early days of the people's Republic of China, the rational reflection will make us adhere to the humanistic concern better in our creation, and the Chinese opera will once again win over the people. It is for the sake of this article.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J822;J616

【引证文献】