毕业论文移动版

摘要：本设计是从玉璇玑的同名歌曲《戏妖》的词作文案激发出的创作灵感，从而进行编创的戏曲古典舞群舞。根据本文案所写内容，设计是以戏妖的内心世界为主线，结合《戏妖》的词作文案：”戏妖，自戏文中而生，俊美多情，倾国倾城。戏妖一生只能唱一场戏，因为他一旦唱完自己的戏，便会消失。 他是书生笔下幻化的戏妖，多年来，书生厌烦他，他，却执意追随。直到书生终于金榜题名，娶妻成亲。成亲当日，他扮作花旦，为书生唱了一整晚的戏，身姿绰约，艳惊四座。”从戏文中生,从戏文中消失的故事。表现的是戏妖对人世间真情的执着向往,期盼把存在变成习惯,陪伴变成感情的内心世界,只可惜,曲终人散。由此形成了本设计的主题、结构、动作、舞蹈队形等艺术表现手法，最后结合一些编导技法、舞美设计，并通过演员的排练做出了论证与实现。76377

毕业论文关键词：《戏妖》，戏曲古典舞，群舞编导技法

Abstract: This design is from Yu Xuanji's song of the same name "opera demon" case of writing the word inspire the creative inspiration, and compiled a classical opera dance dance。 According to the case of the content, design is to play demon's inner world as the main line, combined with "opera demon" word writing: "opera demon。 Since Xiwen was born, handsome and passionate, the Empress Dowager。 Life can only play demon sing a scene, because once he finished his play, will disappear。 He is a scholar under the pen of unreal play demon, over the years, the student insisted on him, he tired, follow。 Until finally the student first, marry a wife。 Marry that day, he disguised himself as a night singing actress, drama, the scholar curvy, Yan scared four。" From a student, disappeared from the story of the opera。 Performance is play demon in the world, the truth of the persistent yearning, looking forward to have become a habit, accompany into the inner world of feelings, unfortunately, finalizing。 Thus formed the design of theme, structure, movement, dance formation way of artistic expression, finally, some directing techniques, choreography, and by the actors rehearsing makes a demonstration and implementation。

Keyword:"Opera demon" opera, classical dance, dance choreography techniques

目   录

1 前言 3

2 案头前期工作 3

2。1 确定主题与结构 3

2。2 动作选用与提炼 4

2。3 音乐 4

2。4 人数 4

3  创编主体工作 4

3。1 编创 4

3。2 排练 5

3。3 二次编创 5

4  辅助工作 5

4。1 队形 5

4。2 服装 17

4。3 灯光 17

4。4 道具 17

结论 18

参考文献 19

致谢 20

1  前言

戏曲水袖，它来自于戏曲舞蹈中，我们今天的中国古典舞借鉴和继承了戏曲舞蹈独特、鲜明的风格和形态。水袖也是继承和发展的一部分。本文所要谈的两个“力”——用力及表现力，是相辅相成的、不可分割的如果只掌握了水袖的技法，却没有通过身体的表现力去体现水袖那如“行云流水”般的美感，那么水袖仅仅只是一种技能而已，不但不能体现出舞蹈中的韵律美，反觉多余、牵强。我认为这两个“力”之间的关系是我中有你、你中有我、相辅相成、密不可分的。也可将二者合而为一，理解为同一个“力”的两个阶段：始于“用力方法”，即用身体的协调力和表现来带动水袖正确的用力技巧；成于“表现力”，运用水袖的修长、多变来表现人体形态和思想感情。 (责任编辑：qin)