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題名:京劇〈捧印〉的情緒表現與結構研究:表演分析與觀眾生理訊號測量的結合
書刊名:戲曲學報
作者:蔡振家 引用關係
作者(外文):Tsai, Chen-gia
出版日期:2014
卷期:11
頁次:頁125-161
主題關鍵詞:戲曲觀眾戲曲表演梅蘭芳膚電反應協調節奏Xiqu audienceXiqu performanceLan-Fang MeiSkin conductance responseCoordinationRhythm
原始連結:連回原系統網址new window
相關次數:
  • 被引用次數被引用次數:期刊(2) 博士論文(0) 專書(0) 專書論文(0)
  • 排除自我引用排除自我引用:1
  • 共同引用共同引用:295
  • 點閱點閱:83
觀賞一場戲劇演出之際,觀眾的情緒變化會反映在其生理指標上面,例如皮膚導電度。各個觀眾的情緒變化雖然不盡相同,但若是樣本數夠大,或許可以根據生理訊號的數據分布趨勢,大致瞭解一般觀眾的觀劇行為。本研究根據觀眾的生理指標來重新探討京劇〈捧印〉,除了發現唱腔的轉折、演員的亮相、步態的變換、特殊的做表具有強烈的情緒感染力之外,也剖析了身段、唱詞、音樂……之間的協調與連貫。梅蘭芳在創作〈捧印〉之際,巧妙融合不同行當的表演技巧,親自修改劇本,實踐了以演員為中心、以音樂節奏來布局的京劇藝術精神,本文藉由表演分析來凸顯這些戲曲美學特質。
While watching a play, audience's emotional changes may be reflected by their physiological indicators, such as skin conductance. If the sample size of audience is large enough, it may be possible to reveal the average behavior of play-watching in terms of the data distribution of physiological data. The present study revisits Beijing opera Pong-Yin on the basis of audience's physiological measures. It is found that changes in singing or gait, ending poses, and special facial/bodily expressions of the actor have a strong moving power. Moreover, the coordination and linking between gestures, lyrics, music... are analyzed. During the creative process of Pong-Yin, Lan-Fang Mei masterly blended the performing techniques of different role types and modified the libretto. This highlights two artistic spirits of Beijing opera: the actor as the center, and the musical rhythm as the play structure. These aesthetic characteristics emerge from the performance analysis in this study.
Other
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期刊論文
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5.Balte, F. R.、Avram, J.、Miclea, M.、Miu, A. C.(2011)。Emotions Induced by Operatic Music: Psychophysiological Effects of Music, Plot, and Acting: A Scientist's Tribute to Maria Callas。Brain and Cognition,76,146-157。  new window
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10.Naugle, K. M.、Hass, C. J.、Joyner, J.、Coombes, S. A.、Janelle, C. M.(2011)。Emotional State Affects the Initiation of Forward Gait。Emotion,11,267-277。  new window
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12.Vecchiato, G.、Astolfi, L.、De Vico Fallani, F.、Cincotti, F.、Mattia, D.、Salinari, S.、Soranzo, R.(2010)。Changes In Brain Activity during the Observation of TV Commercials by Using EEG。GSR and HR Measurements. Brain Topography,23(2),165-179。  new window
13.Gilissen, R.、Koolstra, C. M.、van Ijzendoorn, M. H.、Bakermans-Kranenburg, M. J.、van der Veer, R.(2007)。Physiological Reactions of Preschoolers to Fear-Inducing Film Clips: Effects of Temperamental Fearfulness and Quality of the Parent-Child Relationship。Developmental Psychobiology,49(2),187-195。  new window
14.Guhn, Martin、Hamm, A.、Zentner, M.(2007)。Physiological and Musico-Acoustic Correlates of the Chill Response。Music Perception: An Interdisciplinary Journal,24(5),473-484。  new window
15.Kreibig, S. D.、Wilhelm, F. H.、Roth, W. T.、Gross, J. J.(2007)。Respiratory Response Patterns to Fear- and Sadness-Inducing Films。Psychophysiology,44(5),787-806。  new window
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18.Grewe, O.、Nagel, F.、Kopiez, R.、Altenmüller, E.(2007)。Emotions over Time: Synchronicity and Development of Subjective, Physiological, and Facial Affective Reactions to Music。Emotion,7(4),774-788。  new window
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學位論文
1.柯立思(2000)。傳統戲曲旦行表演新詮釋--以當代京劇《穆桂英掛帥》、《杜鵑山》及《慾望城國》之劇場表演為範疇(碩士論文)。國立藝術學院。  延伸查詢new window
2.林珊如(2005)。移步而不換形--以梅蘭芳的戲曲舞蹈創作經驗探索戲曲發展新舞式之理論基礎(碩士論文)。臺北藝術大學,臺北。  延伸查詢new window
圖書
1.劉彥君(1996)。梅蘭芳傳。河北教育出版社。  延伸查詢new window
2.梁秀娟(1983)。手眼身法步--國劇旦角基本動作。臺北:遠流出版社。  延伸查詢new window
3.阿甲(1979)。戲曲表演論集。上海:上海文藝出版社。  延伸查詢new window
4.孔在齊(2010)。顧曲集:京劇名伶藝術譚。香港:牛津大學出版社。  延伸查詢new window
5.戴淑娟、金沛霖(1991)。楊小樓藝術論評。臺北:商鼎出版社。  延伸查詢new window
6.謝思進、孫利華(2009)。梅蘭芳藝術年譜。北京:文化藝術出版社。  延伸查詢new window
7.汪曾祺(2006)。汪曾祺說戲。濟南:山東畫報。  延伸查詢new window
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9.徐城北(1991)。梅蘭芳與中國文化。臺北:商鼎文化出版社。  延伸查詢new window
10.梅蘭芳、梅紹武(2008)。移步不換形。天津:百花文藝出版社。  延伸查詢new window
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14.胡名霞(2001)。運動控制與動作學習。台北市:金名圖書有限公司。  延伸查詢new window
15.Fitts, Paul M.、Posner, Michael I.(1967)。Human performance。Brooks/Cole Publishing Company。  new window
16.Bernstein, N. A.(1967)。The co-ordination and regulation of movement。Pergamon Press。  new window
17.李惠綿(200605)。戲曲表演之理論與鑑賞。臺北:國家。new window  延伸查詢new window
18.高友工、柯慶明(2004)。中國美典與文學研究論集。臺北:國立臺灣大學出版中心。new window  延伸查詢new window
19.俞振飛、王家熙、許寅、上海藝術研究所(1985)。俞振飛藝術論集。上海:上海文藝出版社。  延伸查詢new window
20.王安祈(2006)。為京劇表演體系發聲。台北:國家出版社。  延伸查詢new window
21.蔡振家(2011)。另類閱聽--表演藝術中的大腦疾病與音聲異常。臺北:臺大出版中心。  延伸查詢new window
22.王安祈(20110000)。性別、政治與京劇表演文化。臺北:國立臺灣大學出版中心。new window  延伸查詢new window
23.陳芳英(20090000)。戲曲論集:抒情與敘事的對話。臺北:國立臺北藝術大學。new window  延伸查詢new window
圖書論文
1.Boucsein, W.(2001)。Physiologische Grundlagen und Meßmethoden der dermalen Aktivität。Enzyklopädie der Psychologie, Bereich Psychophysiologie。Göttingen:Hogrefe。  new window
2.Dawson, M. E.、Schell, A. M.、Filion, D. L.(2007)。The Electrodermal。Handbook of Psychophysiology。New York:Cambridge University Press。  new window
 
 
 
 
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