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屈指算来,我在国内国外不同的舞台上,学习、承传和演出杜丽娘已经十六年之久。从2007年开始,我又在海内外的不同舞台上,先后举办了10场以《牡丹亭》为主戏的个人表演艺术专场。近三年来,我又在中国戏曲学院的课堂上为主修昆曲闺门旦行当的同学们主教杜丽娘。如何传承、扮演好杜丽娘,也就成为我一直在思考的重要题目。本文从扮演杜丽娘的人物定位、演唱规范和心理节奏三个方面,阐述了学习、承传和扮演杜丽娘的一些心得与体会,希望能够从程式表演的规范性和人物体验的深刻性出发,为认识与归纳昆曲闺门旦表演的大致审美风范,做一些基本的理论积累。
Quotiently, I have studied, inherited and performed Du Li Niang for 16 years on different stages at home and abroad. Since 2007, I have held 10 special performance art performances featuring “The Peony Pavilion” as the main theme on different stages both at home and abroad. In the past three years, I was again in the classroom of the Chinese Opera Academy for the main students of Kunqu Opera, Du Liniang. How to inherit and play Du Li Niang, has become an important topic that I have been thinking about. This article elaborates some experiences and understandings of learning, inheriting and playing Du Li-niang from three aspects: the positioning of Du Li-niang’s characters, the norms of singing and the psychological rhythms. It is hoped that from the normativity of program performance and the profound character experience, And summarize Kunqu Opera boudoir performance of the general aesthetic style, to do some basic theoretical accumulation.