以舞劇原野為例談話劇元素在舞劇中的運用

1、 分類號：J723.17 密級：不保密 UDC：793.3 學校代碼：11065 碩 士 學 位 論 文 以舞劇《原野》為例談話劇元素在舞劇中的運用 以舞劇《原野》為例談話劇元素在舞劇中的運用 劉曉冰 指 導 教 師張琪玲 副教授 學 科 專 業(yè) 名 稱 音樂與舞蹈學 論 文 提 交 日 期 2016 年 5 月 16 日 論 文 答 辯 日 期 2016 年 6 月 2 日 答辯委員會主席 康

2、建 東 AbstractBoth drama and dance drama are the two major branches of drama. Although they aredifferent in the form of performances , but also require the actors have a strongperforming ability. In order to shape a good c

3、haracter among the dance drama, whichcould let the audience resonate, actors must pay attention to the status of performingcapacity in the dance drama.This paper will discuss how to put the theory and method ofdrama perf

4、ormance into the dance drama, in order to improve the performing capacity ofthe dancers in the dance drama, and let the dance drama performance more expressive andappealing. This paper will provide a theoretical basis th

5、at the performance of drama usedinto the dance drama. It is important to the dance drama performing art.“Field(原野） ” is the most outstanding classic in the history of Chinese modern literaturewhich was written by the mos

6、t outstanding drama master Cao Yu(曹禺). This work, wascreated in 1937, was the only work which described the Chinese countryside. The style ofthis work is obviously different from his other masterpieces. It can be said th

7、at “Field”was the most profound, controversial and interesting drama which was created by Cao Yu.This paper chose “Field” as the analysis object, because it both had drama and dancedrama performance forms. Through the sa

8、me script, it is easier to do comparison andstudy. It can be used the elements of the drama performances into the dance dramaperformances, which could enhance the expressive of the actor and the ability to shape thechara

9、cters.This paper has three chapters. The first chapter is mainly to analysis and research on bothversion of drama and dance drama of“Field” , in order to provide the basis theory of howto use the drama performance elemen

10、ts into the dance drama. The second chapter iscarried out careful analyses on how to use the “experience“ among drama performancesinto dance drama, which involves the usage of the“imagination”and“the sense of truthand fa

11、ith ” . The third chapter is carried out careful analyses on how to use the“expression“ among drama performances into dance drama, which include the importanceof improving the body expression, the language expression, an