搜索结果: 76-90 共查到“知识库 表演学”相关记录151条 . 查询时间(1.478 秒)
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《杨二舍化缘·站花墙》(八岔戏)(图)
杨二舍化缘·站花墙 八岔戏 游园 相会
2009/7/31
八岔戏传统剧目。1959年经王道中改编,成为八岔戏闺阁旦、丫环旦、小生表演的代表剧目,唱做工并重。剧情为:书生杨遇春,家境败落,执婚约投亲,岳父欲昧婚事,拒不相认。未婚妻王美蓉闻知,带丫环梅香花园遣闷。巧逢杨遇春化缘到此。二人墙头相会,互诉衷肠,并交换信物,表示决不相负,该戏前段重歌舞。王美蓉主仆花园观景抒情,运用了八岔戏且脚贯用的道具——手帕、扇子,作各种富有民间色彩的八岔舞蹈。主仆二人载歌载舞...
道情传统小戏。剧情为:秀才史书与财主林色为一文钱,争持不下,告于县衙,一文钱终被县官所得。该剧为讽刺喜剧,滑稽风趣。其中的“矮子步”、“耍脸蛋”、“动眉毛”、“闪帽翅”等表演,颇具特色。秀才史书穷愁潦倒,欲向财主林色借贷。林色不仅不借,还将史书推倒于地。史书坐地,一转身拾得一文铜钱。林色硬说钱是他丢失的,要史书还他。秀才不给,两人争夺,林色抢得。史书追赶要钱,林色急吞钱入腹。史书气急败坏,告于县衙...
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秦腔传统剧目,小生、小旦唱做工并重戏。剧情为:明时,田玉川于龟山打死卢世宽后,逃至江边,幸遇渔翁之女胡凤莲相救,并于患难中盟订终身。该剧唱做俱佳,表演上以细腻含蓄为特色。全场戏可分为“救田”、“怒斥官兵”、“舟中定情”三个层次。
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《游西湖·救裴生》(秦腔)(图)
游西湖·救裴生 秦腔 李慧娘
2009/7/31
秦腔传统剧目,小生、花旦表演代表剧目,以做为主。剧情是:贾似道怒杀慧娘后,又命爪牙廖寅连夜杀害囚禁冷房中的裴生。慧娘鬼魂以土地神所赐之阴阳宝扇搭救裴生逃出险境。《救裴生》这场戏演出很流行,其中的“吹火”特技和特殊身段,颇为精彩。
《战宛城》(汉调二簧)
战宛城 汉调二簧 传统戏
2009/7/31
汉调二簧传统戏。净、旦表演代表剧目,唱做并重。此剧曹操一角有净扮丑演与丑扮净演两种演法,是一个融净、丑两个行当于一身而很有特色的戏。剧情为:曹操领兵攻破宛城后,宛城守将张绣使寡嫂在城楼弹唱、歌舞,卖弄风情以诱曹,曹操侄儿曹昂见其貌美,便掳之献于曹操。曹正与绣嫂醉卧于房,张绣乘机杀入曹营,典韦、曹昂战死,曹操狼狈败逃。剧中曹操逃跑中“辫须”、“背靴”的表演,饶有风趣,形象地表现了曹操的狼狈不堪。
《张连卖布》(眉户)
张连卖布 眉户 巧辩 串戏
2009/7/31
眉户传统折戏,丑角表演代表剧目,唱做并重。该剧语言幽默活泼,表演诙谐风趣,乡土气息浓郁,特别是“百戏图”的串演,滑稽可笑,很有特色。剧情为:张连嗜赌成性,将家业输光,仍不悔改。其妻四姐为养育子女,辛勤纺织。一日,张连竟将妻子让他卖布换米糊口的钱也输掉了,还在妻子面前编谎遮辩。其妻无奈欲寻短见,吓得张连急忙赔礼,并立志改过自新。戏从张连卖布回家,四姐见其空着手回来,心中生疑开始。共分“巧辩”和“串戏...
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《忠孝图·杀狗劝妻》(秦腔)(图)
忠孝图·杀狗劝妻 秦腔 曹庄
2009/7/31
秦腔传统剧目,《曹庄辞朝》、《忠孝图》,未见演过,通常只演《杀狗劝妻》这一折戏。剧情为楚大夫曹庄辞官回家奉母。其妻焦氏不贤,每逢曹庄上山打柴之时便虐待婆母。曹庄知情后杀狗诫妻从善孝母。该剧为小生、泼旦唱做工并重戏。是秦腔名旦杨金凤的拿手戏,她扮焦氏在表演上别具一格。焦氏的“三进门”、“三手腕”、“三挪椅”等表演程式是她的独创,颇为精彩。全场戏分“担柴见母”、“劝妻”、“杀狗”三个段落,“劝妻”是该...
《紫金簪·哭簪》(弦板腔)
紫金簪·哭簪 弦板腔
2009/7/31
弦板腔传统剧目,闺门旦唱做并重之代表剧目。其特色是刻画人物心理活动细腻,高寄玉哭簪的表演身段采用了皮影戏的一些动作,别具一格。剧情为:宋吏部尚书高元贵嫌贫爱富,逼女儿与夏昌时退婚,另嫁宦门。女儿寄玉不从父命,夜对聘礼紫金簪哭诉衷肠,思念未婚夫夏昌时,丫环秋虹设计相约夏于花园相会,发生了一系列矛盾波折,终成婚姻。《哭簪》是高寄玉白日抗父命后,夜晚在绣房独守孤灯,对簪哭诉的一段戏。
重在表演?——社会表演学导论
表演 社会表演学 导论
2009/7/30
一九九九年春节,中央电视台的晚会照例是大家关心的话题,有两个节目在开播前就引起了媒体的特别关注。其一,《实话实话》的崔永元演起了虚构的小品。可那戏名还叫《实话实话》;其二,一群大学生要来开个辩论会,但这回人人都背好了精彩的台词(可惜后来因为时间不够没能演出)。那还是“实话‘实’说”吗?那还能叫辩论吗?但好像并没有多少人提出这个问题,大概人们知道,打破真实和虚构的界线,在西方影视中早已屡见不鲜,咱们...
Liminal Spaces within a Contemporary Australian Arts Practice
Liminal Spaces Contemporary Australian Arts Practice visual arts
2009/7/16
The genre of installation within the context of contemporary visual arts practice is defined by its hybrid quality, concentrating diverse and contradictory notions within its influence. It has been ar...
4D Design:Applied Performance in the Experience Economy?
Applied Performance Experience Economy 4D Design
2009/7/16
The Liminality and Performance conference incorporated delightful performances and the vitality of the participants was an island of experiences in a rather mundane world of suburban London. Why canno...
Strobe Light Consciousness and Body Technology in the Theatre of Antonin Artaud
Strobe Light Antonin Artaud Body Technology
2009/7/16
'I do not work in the domain of any universe whatsoever, I work within unique duration.' (Artaud, 1976: 120). (1)
'In this Theatre, lets undo space.' (Artaud, 1978: 252)
Antonin Artaud's docum...
The Performer and the Machine:Some Aspects of Laurie Anderson's Stage Work
The Performer Machine Stage Work
2009/7/16
The work of American artist Laurie Anderson inhabits the liminal territory of hi-tech theatre, visual arts, popular music, and cyberspace. Anderson started as an experimental artist in the early 1970s...
Liminal Aesthetics
Liminal Aesthetics term limen
2009/7/16
Liminal Acts (1999), a description of a range of experimental performative types which I have assembled under this heading, is an emerging genre which has surfaced only in the past few decades. The te...
Performance as Revolutionary Activity:Liminality and Social Change
Revolutionary Activity Performance Social Change
2009/7/16
I am the dramaturg at the Castillo Theatre, an off-off Broadway theatre in New York City noted for its experimental productions, its populist political concerns and its postmodern sensibility.