话剧表演训练中的游戏感研究
发布时间：2018-07-27 10:18
【摘要】： 话剧表演艺术的学习与创作过程中存在着游戏感的现象。话剧表演是人表现生命的艺术,其创作主体是人本身,又因表演的舞台性、直观性、综合性、对话性等特点。在话剧表演中,演员通常会产生诸如游戏感、使命感、责任感、陌生感等心理感觉,这些感觉成为促使话剧表演完善和成熟的内在力量。其中游戏感在话剧表演中起着长久的内动力作用。演员常利用游戏的方法进入到表演状态,通过对游戏感的体味来有效地控制表演中的节奏和形态。 本文主要对话剧表演训练中的“游戏感”现象进行研究。全文分为六部分。 绪论先从总体上对话剧表演训练中的游戏感现象进行概括。第一章主要对话剧表演训练中的游戏感现象进行理论定位。第二章和第三章具体研究在话剧表演训练的不同阶段中,游戏感在话剧表演训练中是如何存在和被利用的,以及其功能特点等。第四章提出要辩证地看待话剧表演训练中的游戏感的作用。结论部分是对全文进行了理论总结与升华。 文所谈及的话剧表演训练大体可以分为两个阶段,首先是学习表演的基础训练阶段;其次是接受表演任务后的排演阶段。游戏感在这两个阶段中有着不同的定位。在话剧表演基础训练阶段,游戏感的作用最为突出。有效建立游戏感,对于培养演员的基本能力,常常起到事半功倍的作用:在排演阶段,游戏感则可以使表演者放松心态,深入角色,积极促成自我和角色二重性格的统一,帮助演员寻找到职业感觉,从而利用游戏状态激发表演的创造性。事实上,许多演员在艺术实践中,技巧会越来越熟练,并从中获得一些成就感。但是排演的反复,角色的难于把握和导演的苛刻要求,还是会使演员感到特别“痛苦”,有时甚至会感到简直是凭着毅力“活受罪”。有了游戏感之后,角色创造不但有光彩,而且对演员是一种享受;没有游戏感,仅凭工作的毅力,角色创造对演员来说只是完成了一件任务,角色就显得干巴巴。本文拟在实践经验梳理的基础上,对游戏感进行理论分析,目的在于利用游戏感帮助演员创造角色,并保持最佳的艺术创作状态。 游戏感在表演创作中是客观存在的,建立游戏感有助于演员完善表演,但是它又不是孤立存在的,对话剧表演训练中的游戏感还是需要多角度的认识和合理的运用。演员只有将责任感、使命感、陌生感等这些表演中所必然要面对的感觉交融在一起,才有可能创作出杰出的话剧作品来。但如果仅仅执迷于游戏感,则必然会使话剧表演止步于严肃的艺术大门之外,达不到真正的话剧艺术之境。
[Abstract]:There is a sense of the sense of play in the process of the study and creation of the performance of the drama. The play performance is the art of human life, the main body of which is human itself, and the stage, intuition, comprehensiveness and dialogism of the performance. In the play, the actors usually produce such psychology as the sense of the game, the sense of mission, the sense of responsibility, the feeling of strangeness, and so on. Feeling, these feelings become an intrinsic force to improve and mature the performance of the play. In which the sense of play plays a permanent internal force in the play. The actors often use the method of the game to enter the state of the performance, and effectively control the play and form in the performance by the taste of the sense of the game.
This article mainly studies the phenomenon of "game sense" in drama performance training. The full text is divided into six parts.
The introduction first generalizes the sense of the sense of play in the play training. The first chapter focuses on the theoretical orientation of the sense of play in the play training. The second chapter and the third chapter are about how the sense of play exists and is used in the different stages of the play training and training. The fourth chapter puts forward the dialectical view of the sense of play in drama performance training. The conclusion part is a theoretical summary and distillation of the full text.
The play performance training mentioned in this paper can be divided into two stages, first of all, the basic training stage of learning performance; the second is to accept the rehearsal stage after the performance task. The sense of play has different positioning in these two stages. In the rehearsal stage, the sense of play can help the performers to relax, to deepen their roles, to promote the unity of the double character of the self and the role, to help the actors to find the sense of occupation, and to use the state of the game to stimulate the creativity of the performance. In fact, many actors are in the art. In practice, the skills will become more and more proficient and get some sense of achievement. However, the repetition of rehearsal, the difficult to grasp of the role and the harsh requirements of the director will make the actor feel particularly "painful", and sometimes even feel the "live suffering" by perseverance. After a sense of play, the role creation is not only brilliant, but also the performance of the role creation. A person is a kind of enjoyment; without a sense of play, only by the perseverance of the work, the role creation is just a task to the actor and the role is dry. This article is to analyze the sense of the game on the basis of the experience of practice. The purpose is to use the sense of the game to help the actors to create the role, and to keep the best state of art.
The sense of play is objective in the performance creation, and the establishment of a sense of play helps the actors to improve their performance, but it is not isolated. The sense of play in the play training is still in need of multiple angles of understanding and rational use. The actors have to face the sense of responsibility, mission, and strangeness. Together, it is possible to create outstanding works of drama. But if you are only obsessed with the sense of play, it will inevitably stop the play from the serious art door, and can not reach the real art of drama.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J824
本文编号：2147511
[Abstract]:There is a sense of the sense of play in the process of the study and creation of the performance of the drama. The play performance is the art of human life, the main body of which is human itself, and the stage, intuition, comprehensiveness and dialogism of the performance. In the play, the actors usually produce such psychology as the sense of the game, the sense of mission, the sense of responsibility, the feeling of strangeness, and so on. Feeling, these feelings become an intrinsic force to improve and mature the performance of the play. In which the sense of play plays a permanent internal force in the play. The actors often use the method of the game to enter the state of the performance, and effectively control the play and form in the performance by the taste of the sense of the game.
This article mainly studies the phenomenon of "game sense" in drama performance training. The full text is divided into six parts.
The introduction first generalizes the sense of the sense of play in the play training. The first chapter focuses on the theoretical orientation of the sense of play in the play training. The second chapter and the third chapter are about how the sense of play exists and is used in the different stages of the play training and training. The fourth chapter puts forward the dialectical view of the sense of play in drama performance training. The conclusion part is a theoretical summary and distillation of the full text.
The play performance training mentioned in this paper can be divided into two stages, first of all, the basic training stage of learning performance; the second is to accept the rehearsal stage after the performance task. The sense of play has different positioning in these two stages. In the rehearsal stage, the sense of play can help the performers to relax, to deepen their roles, to promote the unity of the double character of the self and the role, to help the actors to find the sense of occupation, and to use the state of the game to stimulate the creativity of the performance. In fact, many actors are in the art. In practice, the skills will become more and more proficient and get some sense of achievement. However, the repetition of rehearsal, the difficult to grasp of the role and the harsh requirements of the director will make the actor feel particularly "painful", and sometimes even feel the "live suffering" by perseverance. After a sense of play, the role creation is not only brilliant, but also the performance of the role creation. A person is a kind of enjoyment; without a sense of play, only by the perseverance of the work, the role creation is just a task to the actor and the role is dry. This article is to analyze the sense of the game on the basis of the experience of practice. The purpose is to use the sense of the game to help the actors to create the role, and to keep the best state of art.
The sense of play is objective in the performance creation, and the establishment of a sense of play helps the actors to improve their performance, but it is not isolated. The sense of play in the play training is still in need of multiple angles of understanding and rational use. The actors have to face the sense of responsibility, mission, and strangeness. Together, it is possible to create outstanding works of drama. But if you are only obsessed with the sense of play, it will inevitably stop the play from the serious art door, and can not reach the real art of drama.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J824
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