崑劇表演方法研究：論「演員身體」的構成元素與角色創造上的運用

Methods of Performance in Kun Opera: the Components of “Actor’s Body” and Its Manipulation in Creating a Role

李銘偉(Ming-Wei Li)

指導教授 ： 林鶴宜

國立臺灣大學/文學院/戲劇學研究所/碩士(2008年)

https://doi.org/10.6342/NTU.2008.00647

摘要

本論文的論述核心聚焦於崑劇演員身體運用的各個層面，以回歸「人」作為劇場表演主體的思維與觀點進行研究分析。整體論述脈絡是在崑劇審美原則的觀照之下，漸次遞進，討論演員建構身體表現能力的三個層面：身體力學結構的運作原理、整合聲音與身段的身體運作機制，以及在表演過程中演員身心之間的運作關係。
本研究從人體的運作現象切入，試圖重新發現傳統崑劇藝術中的表演元素，探討崑劇演員如何運用他們的身體完成聲音、身段、角色詮釋三方面高度整合的舞台表演，使傳統藝術獲得更全面的理解並與當代觀點產生連結，尋找出在精神與實務上都合乎崑劇表演分析所需的方法，並作為當代表演藝術進一步發展的基礎養份。

關鍵字

崑劇 ； 身體 ； 演員 ； 結構 ； 核心 ； 表演方法

並列摘要

From the perspective of performer-centered theatre, this thesis focuses on how the performers of Kun-Ju (also known as Kun Opera) exert every part of their body. The whole discourse develops on the aesthetics of Kun Opera, gradually delving the three aspects of performers’ constructing their ability in physical expression: the manipulation principle of physical dynamics structure, the body-manipulation mechanism of integrating vocal, posture-and-dance, and the performers’ physical-mental interaction whiling playing.

From the angle of how the body acts and moves, this thesis attempts to rediscover the performing elements of traditional Kun-Ju art, dealing with how Kun-Ju performers exert their body to achieve the highly integral stage performance of vocal, posture-and-dance, and role. In this way, the traditional art will not only be fully comprehended but be connected with the contemporary standpoint as well. Moreover, the methodology that analyzes Kun-Ju performance according to its own essence and practice will be extracted in the hope of further developing “nutrients” for contemporary performing art.

並列關鍵字

Kun-Ju ； body ； actor ； structure ； core ； methods of performance

參考文獻

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