京劇丑角舞台語言之研究──以名丑蕭長華《法門寺》為例

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题名:	京劇丑角舞台語言之研究──以名丑蕭長華《法門寺》為例 Study Clown in Stage Language of Chinese Opera for Examples Famous Clown of Chinese Opera Xiao,Chang-Hua《Famen》
作者:	許孝存 Hsu, Hsiao Tsun
贡献者:	戲劇學系
关键词:	蕭派大狀紙貫口京白怯口 Xiao of Fection Large Zhuangzhi Fast address Beijing accent Local accent
日期:	2014-12-31
上传时间:	2015-02-05 11:54:29 (UTC+8)
摘要:	本論文從京劇丑角的白口藝術為主要核心，選擇從遠古優人與丑角的淵源談起，並且例舉京劇史上最傑出的大家—蕭長華先生之《法門寺》，企圖從中比較、分析與當時同為丑角三大士之郭春山先生、慈瑞全先生的《法門寺》劇中人物賈桂的表演風格。利用京劇師承關係考證劇作表演藝術，如：朱世慧、葉復潤的《法門眾生相》，及南方名丑孫正陽先生在台傳人陳清河的《法門寺》亦是一俱體証明。企圖解開京劇丑角於做戲時插科諢所面臨到的語言使用和京劇丑角專業技巧為論，乃採以大量的專業藝人的口述訪談與其演出實際情況，進而分析歸納，再從中求得最普遍通則成為共識。其論述方向主要為：京劇丑角應如何發揮它的科諢功能。京劇丑角於戲曲舞台上的份量與地位。京劇丑角所用之語言特性、言語邏輯。京劇丑角生活口語藝術化等範疇論述之。除此之外筆者也向京劇蕭派丑角藝術家黃德華老師學藝，進一步的瞭解京劇丑角表演藝術的面貌與多樣化風格。也參與這部份的表演藝術實踐，亦是見証京劇丑角在舞台上插科打諢，乃有其法則所依。舞台語言的使用是京劇丑角最吸引人之處，所以，從中歸納出京劇丑角的白口藝術。以上便是本論文之要旨。 This white paper from the opera clown art as the main core, from ancient excellent choice about the origin of man and clown, and exemplified in the history of opera's most distinguished people - Mr. Xiao Changhua The "Famen Temple," which attempts to compare, analyze and then three persons of the same Mr. GUO Shan clown, Mr. Rui Ci whole "Famen" the characters Jia Gui performance style. Use opera apprentice relationship research plays performing arts, such as: Zhu Shihui and Ya Fuzoon, "the key to all living creatures," and the South were ugly Mr. Sun Zhengyang successor in Taiwan Chen Qinghe "Famen" is also a proof of both bodies. Inserted in an attempt to unlock the opera clown face when a show buffoonery to the language skills of a professional clown and opera theory, is taken to an oral history interview with its large number of professional artists to perform the actual situation, and then analyzed and summarized, and then obtained from the most common General become the consensus. It discusses the main direction is: How should play its opera clown buffoonery function. Opera clown on the weight and position on the opera stage. Language features used in the opera Pagliacci, verbal logic. Opera clown living in areas such as oral discourse of art. In addition I also sent to the opera clown artist Xiao Huang Dehua Arts teacher, a better understanding of the performing arts, opera clown face and diverse styles. Also involved in this part of the performing arts practice, also is a witness to the opera on the stage clown gag, is there to depend on its rule. Use the stage language is the most attractive place opera clown, so, from which concludes the opera clown white art. The above is the gist of the thesis.
显示于类别:	[戲劇學系所] 博碩士論文

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