黄梅戏影视化进程中马兰角色形象塑造与审美意识研究

发布时间：2018-07-01 19:09

本文选题：黄梅戏 + 影视化　；参考：《东华理工大学》2012年硕士论文

【摘要】：黄梅戏是安徽省的特色剧种之一，在全国有着重要影响。在黄梅戏百余年的发展历程中，经历了由歌舞而小戏、小戏而大作等一次次新模式的探索与尝试，影视化的进程便是其与新媒体结合而产生的又一种的新探索。虽然黄梅戏影视化的历程较短，但它的艺术再创造性及广泛的传播效能等，在给中国戏曲艺术注入活力的同时，也给学术界提供戏曲发展规律及发展空间等更广阔的研究视野，以及戏曲创新机制的理论思考。黄梅戏影视化进程中出现过一批又一批的表演艺术家，她（他）们用自己的艰辛付出和智慧为黄梅戏的发展和传承作出了突出的贡献，如最早纳入影视化视野的严凤英，一部《天仙配》让黄梅戏红透大江南北；又如韩再芬的黄梅系列影视剧，把诸多后现代元素揉入黄梅戏综合艺术之中，在影视圈内再次掀起黄梅戏热。而在严氏、韩氏之间，黄梅戏的中坚力量也颇多可圈可点者，如吴亚玲、马兰等。本文即以马兰为案例，，探讨影视化进程中黄梅戏影视作品的角色形象塑造和审美意识等问题。本论文由绪论、正文、结语、致谢和参考文献等部分组成。绪论部分简略阐述选题的目的与意义、黄梅戏影视化发展的研究现状，以及本文的研究方向及研究方法等。正文部分共分为三章，第一章主要对传统黄梅戏及其特色进行简要阐述，分析了黄梅戏影视化三个不同时期的表演艺术主流趋势，介绍马兰的艺术道路及其在黄梅戏影视化进程中的作用；第二章通过对马兰在黄梅戏影视作品中扮演的角色形象进行分析，进而探讨马兰黄梅戏影视作品中的角色设置及表演方式对黄梅戏影视化进程的影响；第三章从美学的角度考察马兰黄梅戏影视作品的艺术审美特征、审美意识和审美价值，对于黄梅戏影视化发展是保留传统，还是进一步创新也有进一步思考。
[Abstract]:Huangmei Opera is one of the characteristic plays in Anhui Province, which has an important influence in the whole country. In the development of Huangmei Opera for more than one hundred years, it has experienced the exploration and attempt of a new pattern, such as singing and dancing and small drama, and so on. The process of film and television is another kind of new exploration produced by the combination of the film and television with the new media. Although the film and television process of Huangmei Opera is relatively short, its artistic re-creation and extensive spreading efficiency, while injecting vitality into the Chinese opera art, also provide a broader research field for the academic circles, such as the development law and space for the development of traditional Chinese opera. And the theoretical thinking of the innovative mechanism of opera. In the process of film and television of Huangmei Opera, there have been a number of performing artists, and she (he) has made outstanding contributions to the development and inheritance of Huangmei Opera with their painstaking efforts and wisdom, such as the Yan Fengying, which was first included in the visual field of film and television. A "Tianxian match" lets Huangmei Opera become red through the river, and Han Zaifen's Huang Mei series puts a lot of post-modern elements into the comprehensive art of Huangmei Opera, which once again raises the popularity of Huangmei Opera in film and television circles. Between Yan and Han, the backbone of Huang Mei Opera is also quite remarkable, such as Wu Yaling, Ma Lan and so on. Taking Ma Lan as a case, this paper discusses the role image shaping and aesthetic consciousness of Huangmei Opera film and television works in the process of film and television. This thesis is composed of introduction, text, conclusion, thanks and references. In the introduction part, the purpose and significance of the topic, the present situation of the development of the film and television of Huangmei Opera, and the research direction and research methods of this paper are briefly described. The main body part is divided into three chapters. The first chapter mainly expounds the traditional Huangmei Opera and its characteristics, and analyzes the mainstream trend of the performance art in three different periods of the film and television of Huangmei Opera. This paper introduces the art path of Ma Lan and its role in the process of film and television of Huangmei Opera. The second chapter analyzes the role of Ma Lan in the film and television works of Huangmei Opera. The third chapter discusses the artistic aesthetic characteristics of Ma Lan Huangmei Opera film and television works from the perspective of aesthetics, and discusses the influence of the role setting and performing mode on the process of film and television of Huangmei Opera in Ma Lan, the third chapter discusses the art aesthetic characteristics of Ma Lan Huangmei Opera film and television works from the angle of aesthetics. Aesthetic consciousness and aesthetic value, for the development of film and television Huangmei Opera is to retain the tradition, or further innovation.
【学位授予单位】：东华理工大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J825

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