文档介绍：中图分类 J709 密级
UDC 分类 700 学校代码 10690
硕士研究生学位论文
赣南采茶舞蹈“三大表演技巧”与舞蹈演员
性格化训练研究
院所舞蹈学院年级 2008 级
所属学科舞蹈学专业方向民族舞蹈教育
研究生姓名李庆华学号 1069080087
导师姓名朱红职称教授
赣南采茶舞蹈“三大表演技巧”与舞蹈演员性格化训练研究
摘要
在舞台表演艺术中,人物性格表现的饱满与否往往是演员成熟与否的试金石。作为舞台
表演艺术的一种,舞蹈艺术同样存在这样的问题。然而,相比较其他舞台表演艺术,舞蹈作
为用肢体为表现载体的一门艺术,在性格表现上,显然具有明显的弊端。她不能像话剧、演
唱一样,直观地把演员的心理诉求呈现在舞台,传达给观众。因此,在种种弊端面前,舞蹈
演员性格化训练始终处于一种寻求探索的阶段,寻找一种切合于舞蹈表演艺术的性格化训练
成了舞蹈演员提升其综合表演能力的关键点。
在寻求方法的同时,我们会发现,在我国各类的民族民间舞蹈中,由于其地域、文化、
人文品性的不同,所体现的舞蹈性格也截然不同。在众多的民族民间舞蹈中,赣南采茶舞蹈
因其独特的地域、文化等特征,具有很典型的人物性格特征,尤其是其以“矮子步”、“单袖
筒”、“扇子花”为主体的“三大表演技巧”具有浓郁的“丑”的人物性格体现,在我国众多
民间舞蹈中独树一帜。如何让这种具有典型性格化特征的舞蹈类型有效地为舞蹈演员性格化
训练提供服务成为本论文的旨意。
关键词:赣南采茶舞蹈; 三大表演技巧; 舞蹈演员; 性格化训练
I
云南艺术学院硕士学位论文
Abstract
In the art of stage performances, the touchstone of the maturity of performers
lies in whether the characteristics of different roles can be displayed fully and
totally before audiences. It is also true of dancing art, one kind of stage
performances. However, compared with other stage arts, dancing, carried out by
physical performances, shows its disadvantage apparently in displaying
characteristics of roles, which is unlikely to present psychological subtleties
straightly before audiences like drama or singing. Therefore, with such a
disadvantage, what is always in quest for is training in characterization of dancers
while the key to improving dancers’ comprehensive abilities of performing is to
seek a suitable training in characterization for dancing performance.
However, all sorts of Chinese folk dances express entirely different
characteristics due to geographical , cultural and humanistic differences.
Possessing typical characteristics because of its particular region and culture,
Gannan tea-picking dance from South Jiangxi Province, in which three major
performance skills based on dwarf step , single-sleeve and fan-like flower fully
represent personalities of