王爱爱戏曲表演艺术研究

发布时间：2018-06-30 01:42

本文选题：王爱爱 + 表演　；参考：《山西师范大学》2012年硕士论文

【摘要】：王爱爱是我国著名的晋剧表演艺术家，被誉为“晋剧皇后”。在她近六十年的艺术生涯中，不仅创造了众多栩栩如生的女性艺术形象，同时她创立的独树一帜的“爱爱腔”在山西大地乃至全国广为流传，可谓是戏曲花园里的一朵奇葩。本文从王爱爱的学艺生涯入手，着重对她的表演风格来源、唱腔艺术特色和独特的女性人物塑造三个方面进行了论述和分析。绪论里面以重要的晋剧演员为线索对晋剧的发展历程进行了简要的勾勒。第一章叙述了王爱爱跟随奶奶筱桂花艰辛的学艺过程。在戏曲舞台上崭露头角之后继承了前辈艺人的唱腔精华的基础上、融合自己独特的体悟，最终创立了“爱爱腔”。创作中根据时代的需求而对剧本进行一定的整理与创新，从而更适于现代观众的需求。王爱爱在专心于表演的同时还总结了晋剧青衣旦角的表演特色，对年轻艺人的学习具有重要指导作用。第二章中论述了王爱爱的三位授业恩师对她的不同影响。祖母筱桂花作为王爱爱的启蒙老师通过言传身教，把自己的表演艺术倾囊相授，，并且强化了自己的弱点而成为王爱爱的长处。亦师亦友的程玉英，以自己独创“嗨嗨腔”启示王爱爱重视人物性格和情感变化对于唱腔的控制和运用。晋剧大师牛桂英通过自己的言行使王爱爱认识到艺术家对于艺术的不懈追求，并把自己对于发音吐字、唱腔、表演等方面的经验和心得毫无保留的介绍给王爱爱，王爱爱在发挥自身天赋的基础上，学习牛桂英的艺术特点，创制了自己独特的“爱爱腔”。第三章中从唱、念、做三个方面结合王爱爱在戏曲表演来论述她表演艺术特色。第四章中从王爱爱创造的众多艺术形象中选取秦香莲、沈后、王宝钏、陈三两、青兰五位具有鲜明个性特征的艺术形象，以此为基础来论述王爱爱对人物性格的把握，对角色创造。第五章总结了王爱爱的戏曲美学特征，并就王爱爱的艺术实践来探讨对于戏曲发展过程中传承与创新。
[Abstract]:Wang Aiai is a famous performing artist of Jin Opera in China and is known as the Queen of Jin Opera. In her nearly sixty years of artistic career, she not only created many vivid female artistic images, but also created a unique "love and love" widely spread in Shanxi land and even throughout the country, is a wonderful flower in the opera garden. Starting with Wang Aiai's academic career, this paper discusses and analyzes three aspects of her acting style, singing art characteristics and unique female characters. In the introduction, the author gives a brief outline of the development of Jin opera with the important actors of Jin opera as the clue. The first chapter describes the difficult process of Wang Aiai following her grandmother Xiao Guisei. On the basis of inheriting the singing essence of the previous generation artists, he fuses his own unique understanding and finally creates the Love and Love Chamber. According to the needs of the times, the script is arranged and innovated in order to meet the needs of the modern audience. While concentrating on the performance, Wang Aiai also summarizes the performance characteristics of Ching Yi Dan Kok in Jin Opera, which plays an important guiding role in the study of young artists. The second chapter discusses the different influences of Wang Aiai's three teachers. As Wang Aiai's first teacher, Grandma Shinoki taught her performing arts through words and deeds, and strengthened her weaknesses to become Wang Aiai's strength. Cheng Yuying, who is also a teacher and friend, reveals that Wang Aiai attaches importance to the control and application of character and emotional changes in singing. Niu Guiying, the master of Jin Opera, made Wang Aiai realize the artist's unremitting pursuit of art through his words and deeds, and introduced to Wang Aiai his experience and experience in pronunciation, singing, performance and so on. On the basis of giving full play to his own talent, Wang Aiai learned the artistic characteristics of Niu Guiying and created his own unique "love cavity". The third chapter discusses the characteristics of Wang Aiai's performance from three aspects: singing, reading and doing. The fourth chapter selects Qin Xianglian, Shen Hou, Wang Baochuan, Chen Sanliang and Qinglan five artistic images created by Wang Aiai as the basis to discuss Wang Aiai's grasp of the character of the characters. Character creation. The fifth chapter summarizes the aesthetic characteristics of Wang Aiai's opera, and discusses the inheritance and innovation of Wang Aiai's artistic practice.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825

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