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任何文学艺术都具有其所处时代的特征及特有的审美标准,审美情趣。在经济、文化事业迅速发展,工作与生活节奏加快的90年代,我们的黄梅戏曲艺术应该进一步跟上时代的步伐,成为拥有更多观众并具有永久性吸引力的一门艺术。中国戏曲艺术程式表演特点是唱、念、做、打,而黄梅戏艺术更善长的是唱、做工夫。唱为首位,自然先行一步。但做为身段表演艺术,在黄梅戏曲舞台表演艺术之中则是非常重要的环节,塑造舞台艺术形象的过程中有不可替代的作用。要想求得其发展,就须在继承优秀传统程式的基础上广泛吸收、借鉴姊妹艺术之长,为我所用。为此,我在黄梅戏教学剧目《打神告庙》一折戏的移植过程中,做了些大胆尝试,并得到了前辈的指点,教学效果较好,有较多的体会和感想。
Any literature and art has its own characteristics of the times and the unique aesthetic standards, aesthetic taste. In the rapid development of economy and culture, and accelerated pace of work and life, the art of Huangmei opera should further keep pace with the times and become an art with more audience and permanent attraction. Chinese opera art program features singing, reading, doing, playing, and Huang Mei opera art is better, singing, work. Sing first, naturally one step ahead. However, as a performing arts, it is a very important link in the performance art of Huangmei opera, which plays an irreplaceable role in shaping the stage art image. In order to seek its development, we must absorb and draw on the strengths of sister arts based on the succession of outstanding traditional programs and use it for my experience. For this reason, I made some bold attempts during the transplantation of a play in the teaching program of Huangmei opera, “Playing Temples and Divine Temples” and got the advice of seniors. The teaching effect is better and I have more experience and feelings.