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素有“南国奇葩”之称的潮剧,以其独特的表演形式和优美动听的唱腔音乐,融合成极富地方特色的而享誉海内外。英国做过演员、导演和舞台美术师的戈登-克雷曾公允地说:“剧场艺术既不是表演,也不是剧本,既不是布景,也不是舞蹈,[1]但它却包括了构成这些东西的全部因素。”他后来又说:“从某一方面来说,也许动作是最有价值的部分。”由此可见,尽管他十分强调戏剧艺术的整体性,但他认为在所有因素中,具有视觉特征的表演是最重要的。在这里,本文将针对当代剧目《柴房会》、《血溅南梁宫·别女》、《十八相送》的舞台表演,着重就潮剧审美中与表演相关的视觉元素进行归纳与分析。
Known as “Southland wonderful work ” said the opera, with its unique form of performance and beautiful melodious singing music, into a very rich local characteristics and renowned at home and abroad. Gordon-Clay, a British actor, director and stage artist, has said frankly: “Theater art is neither a show nor a play, neither scenery nor dance, [1] but it does include composition All of these things. ”“ He later said: ”In some ways, perhaps action is the most valuable part.“ Thus it can be seen that although he places great emphasis on the integrity of theatrical art, Among all the factors, visual performance is the most important. Here, this essay will focus on the stage performances of the contemporary repertoire ”Chai House,“ ”Blood Splats Nan Liang Gong Bei“ and ”Eighteen Seniors Sent," focusing on the performance-related visual elements in the aesthetic of the opera .