| 戏剧扮演艺术是一种综合的艺术情势,它旨在表示人的生涯、表现人的性命,用人(演员)来饰演人(人物抽象),从而转达出具有广泛意义的社会成绩。戏剧扮演是戏剧表演的焦点,斯坦尼斯拉夫斯基就曾指出：“一切演员——抽象的发明者,毫无破例地都应当再表现和性情化”①。他明白提出了演员应当具有性情化发明的扮演技巧。性情化发明是一种艺术扮演办法,各个戏剧派别实际都对其有所说起。演员对人物的性情化发明就是要发明鲜活的人物抽象,反之,演员饰演的只是一副没无情感和特性的人物躯壳。是以,在话剧舞台上须要演员周全掌握人物多面的特性特点,停止艺术性的性情化发明。本文经由过程运用性情化发明的扮演办法对法国悲剧艺术中“马克”这一人物停止创作剖析,对若何发明出性情化的人物抽象扮演实际停止了概要性梳理,从而总结出演员在创作理论中塑造光鲜人物抽象的艺术办法,这类办法对当下戏剧扮演理论创作具有非常主要的指点感化和实际意义。 Abstract: Drama art is a comprehensive art form, it is said, the representation of the career life, with people (actor) as people (characters), thus conveys the broad significance of the social performance. Play is the focus of drama. Stanislavski once pointed out: "all actors, inventor of the abstract, without exception, should be re expression and temperament". He clearly put forward the actor should have the nature of the invention of the playing skills. Nature of the invention is a kind of art to play, each faction in the actual drama are talking about. Actors on the character of the nature of the invention is to invent vivid characters abstraction. On the contrary, actor played just a pair of no character emotions and characteristics of the shell. Is, in the drama on stage to actor characteristics comprehensive mastery of character multifaceted, the artistic nature of the invention. Through the process and application of temperament invented play way to the French tragedy of the art, "mark" the character creation analysis of how to discover the nature of the abstract figures play actually stop the summary and comb, and sums up the actor in the creation theory shape bright character abstract artistic way, this way of contemporary drama play creation theory has a very important guiding role and practical significance. 目录: 中文摘要 5-6 Abstract 6 引言 8-9 一 性格化创造概述 9-12 (一) 性格化的定义 9 (二) 性格和性格化的区别 9-10 (三) 性格化和人物形象的关系 10-12 二 性格化创造的规律性特征 12-15 三 艺术中“马克”性格化创造的实现 15-20 (一) 艺术剧本总体略论 15 (二) 对艺术中“马克”人物形象塑造的过程略论 15-20 结语 20-21 参考文献 21-22 在校期间发表的论文、科研成果等 22-23 致谢 23 |
