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| 題名: | 《李少春京劇表演藝術研究》 |
| 作者: | 劉承恩 |
| 貢獻者: | 戲劇學系 |
| 關鍵詞: | 李少春 Li Shao-chun
李桂春 Li Gui-chun
人物立派 figure, faction
《野豬林》 "Ye Zhulin,"
現代戲 opera, versatile performing artists
全能型表演藝術家 |
| 日期: | 2009 |
| 上傳時間: | 2010-09-07 14:09:27 (UTC+8) |
| 摘要: | 李少春生於1919年，正是西方思潮、科技、媒體大量傳入中國，並風起雲湧地影響當時知識青年的關鍵時代。他的表演深受海派創新精神啟迪，同時亦服膺於京朝派的傳統矩範，傳統戲、新編戲與現代戲三者均擅長。其文戲師承余派(余叔岩)，武戲宗楊派(楊小樓)，結合兩派之長，加上麒派(周信芳)、蓋派(蓋叫天)，形成自己獨特的表演風格，並且在編劇、導演與音樂編創上展現過人的成就。他所擅長的角色，橫跨文/武老生、長靠/短打武生、武小生、紅淨、猴戲及反串角色，不受傳統行當拘束，可視為京劇藝術由「流派傳承」走向「全能型表演藝術家」的代表人物。
作為這樣一名極具傳奇色彩的京劇名角，李少春短短三十餘年的舞台表演藝術，和量少質精的影像資料、論述觀點，如同天際劃過一道流星般，為後世京劇劇壇留下了熾亮而璀璨的光影。然而，吊詭的是，關於李少春的文獻記錄與探討出奇匱乏，不僅面向散亂重複，也缺乏完整的生平記述與藝術研究。
為彌補此一缺憾，本文以《李少春京劇表演藝術研究》為題，縱向窺視李少春從奠基至成熟的藝術養成經過，一一剖析在其父小達子李桂春這名「超級經紀人」的計劃栽培下，李少春如何得天下名師之指導，再內化為自己的表演風格；橫向則藉由《三岔口》、《野豬林》等傳世劇目的分析，穿插運用李少春的創作觀點與藝術見解，與現今京劇表演方式加以比對，進而提出李少春「以人物立派」，跨越行當限制、捨棄流派傳承路數，轉而開發劇中人物獨特性格的作法，確實具有先見性、突破性與引領風潮的貢獻。
「演人物，不演流派」當是李少春最重要的舞台表演成就，更是他最高的藝術思想結晶。冀希藉由本文的梳理，將李少春突破流派侷限，達到全能型演技的崇高藝術成就再現當世，並期望對現今京劇傳承與發展，得其創作啟發與影響。
Li Shao-chun was born in 1919, which is an era when Western ideas, technology, media to be brought into China. During in the era, all young intellectual class had surging influence, and Li Shao-Chun is one of elitists in the young intellectual class. Li’s performance is deeply inspired by innovation of Shanghai spirit, also he concentrated on Jing-Chou faction (Included traditional Chinese opera, New style Chinese opera and modern Chinese opera .His performance was taught by Yan (Yan Yushu ), Yang (Yang Xiaolou), and he combined with these two factions, and adding Qipai (Zhou Xainfang) and Gai (Gai Jiaotian),which then becomes his own unique style of performance. And Li had extraordinary achievement in screenwriter, director and music compilation. He excelled in many different kind of traditional characters in Chinese Opera, such as Old Wu-Sheng , Wu-Sheng with long weapon and bare hands, Young Wu-Sheng, monkey character and female character in traditional Chinese Opera. Li was not limited by any traditional Chinese Opera characters. Therefore Li was a great icon in the history of traditional Chinese Opera.
As such a legendary Chinese Opera masters, Li Shao-chun only had 30 years experience of stage performance. During this period, there are very few of highly refined image data and academic criticism record left in now day. All those valuable archive makes him like a shouting star across the art of Chinese Opera history. He also gives a bright direction for New Chinese Opera in the present day. Unfortunately there are not much complete documentary records of Li Shao-Chun in academic field, and all records are not optimized and organized. Even there is no any complete history research for Li Shao-Chun’s life.
To compensate for this cavity of Chinese Opera history, this dissertation "The Life of Li Shao-Chun Performing Arts" as title, is going to present and analyzes Li’s art development and devotion from zero to successes, and step by step to analyze Li’s “super agent” ,his father , Li Guichun how to make management and to introduce Li Shao-Chun many Chinese Opera masters for studying, and then transform all learning experience into his own style of performance ; by analysis of two famous Chinese Opera "Divergence", "Ye Zhulin" , and Li Shao-Chun’s creative ideas and point of view to understand and compare with Chinese Opera in the present day. In the final with my conclusion Li Shao-Chun uses “developing Chinese Opera Character as his own style “to become a fashion in Chinese opera history.
"Play characters without faction" is Li Shao-Chun’s the most important achievements on Chinese Opera stage; also it is his greatest artistic vision. In this dissertation with well organization, I would like to prove Li’s achievements breaks through limitation of every Chinese Opera faction then become a full type of Chinese Opera actor. Also I want to show Li’s influence for Chinese Opera tradition and development. |
| 顯示於類別: | [戲劇學系所] 博碩士論文
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