題名:陳美雲演藝史及其演出本三種研究
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- 資料類型：
- 來源資料庫:學位論文
- 著作者：
- 創作者名稱:邱美慈
- 主題與關鍵字：
- 主要分類:人物傳說
- 中文關鍵詞:臺灣
- 中文關鍵詞:民間傳說
- 中文關鍵詞:歌仔戲
- 中文關鍵詞:陳美雲
- 中文關鍵詞:陳美雲歌劇團
- 中文關鍵詞:顏春敏打鑾駕
- 中文關鍵詞:陸家村
- 中文關鍵詞:桐花開
- 外文關鍵詞:Taiwan
- 外文關鍵詞:Taiwanese Opera
- 外文關鍵詞:CHEN
- 外文關鍵詞:MEI-YUN
- 外文關鍵詞:Chen
- 外文關鍵詞:Mei-Yun Taiwanese Opera Troupe
- 外文關鍵詞:Yan Chun-Min beat Emperor Carriage
- 外文關鍵詞:Lu’s Village
- 外文關鍵詞:India Coral Reblossming
- 描述：
- 頁碼:132
- 中文摘要:本論文以「陳美雲歌劇團」的領導人陳美雲女士為研究對象，藉由陳美雲女士的個人藝術生命史及演藝生涯中的代表劇目，做為描述與分析的重點。 全文除緒論及結論外，共分四章論述。緒論闡述筆者的研究動機、研究材料與範圍、研究方法與步驟。第二章，論述陳美雲的演藝史；記錄範圍從1953年陳美雲出生起，迄2003年7月止，共區分為幼年期、「拱樂社」時期、少女時期、「陳美雲歌劇團」時期四個階段。第三章至第五章，陳美雲演出本研究；將陳美雲演藝生涯所歷經的公演作品，按當前台灣歌仔戲最普遍的三種演出形式，「古冊戲」、「胡撇仔戲」與「近期新編戲」各擇其一代表劇作，計有：「古冊戲」《顏春敏打鑾駕》、「胡撇仔戲」《陸家村》、「近期新編戲」《刺桐花開》。並將三部演出本，分為「劇本來源及編演過程」、「情節與曲調安排」、「戲劇衝突」、「陳美雲演出角色分析」四個部份，逐一分析探討。 結論分為兩個部份：首先，透過對陳美雲生平及藝程的認知後，論述演藝史對其表演風格的影響，並結論其在歌仔戲史上的地位。第二，歸納陳美雲舞台演出本的分析結果，說明今日台灣歌仔戲表演風貌乃順應著政治社會環境與大眾流行文化的脈動，與時變遷。而在變遷的過程中，歌仔戲的藝術特質被持續保留著的以傳統曲調為主，其中【七字調】、【都馬調】與【雜唸調】更是今日歌仔戲的主要唱腔曲調，成為鑑別歌仔戲劇種的重要元素。而在曲調運用上，除了七字、都馬、雜唸等基本元素的內在聯繫外，因應演出的需求，尚能自由融入各種傳統戲曲與時代音樂，呈現「兼容並蓄」的音樂特色。
- 英文摘要:This thesis revolves around the CHEN,MEI-YUN, the leader of Chen Mei-Yun Taiwanese opera troupe. Regarding the Chen Mei-Yun’s career and some of most representative performance for the further describe and explore as the objective of this thesis research. Fundamentally, this thesis combine with six chapters, in the first chapter, the whole basic structure of this thesis has been introduced clearly, that include the motivation of research, the field which has been contained, the method and procedure of investigation. The chapter two focus on the presentation of performance history of Chen Mei-Yun, the presentation includes four periods and start from 1953 the year Chen Mei Yun was born to the July of 2003. The four periods include the period of childhood, the period of “Goun Le Company”, the period of damsel, and the period of “Chen Mei-Yun Taiwanese opera troupe”. The chapter three to chapter five is the investigation of scripts. The investigation base on three most popular performance styles which involve the style of “Classical Taiwanese Opera”, the style of “Taiwanese Opera”, and the style of “ the Present New Inditing Taiwanese opera”. One of most representative script has been chosen for the investigation from each style, they are “Yan Chun-Min beat Emperor Carriage” for the style of Classical Taiwanese Opera, the “Lu’s Village” for the Taiwanese Opera, “India Coral Reblossming” for the Present New Inditing opera. The script investigating focus on four different aspects those include “ the script source and re-inditing process”, “the plot and tune arrangement”, “ the drama conflict” and “ the role analysis of Chen,MEI-YUN”. The final chapter conclusion combine with two parts, in the first part, base on the influence of her career background to expound her outstanding performance style currently, and to conclude her standing in the field of Taiwanese Opera. The second part integrates whole result of investigation to discourse the current Taiwanese Opera is transforming with political social environment and popular culture. However, during the progress of transforming, the art characteristics of Taiwanese Opera still retain the traditional tune mainly, in which “Qi Zi tune”, “Du Ma tune” and “Za Nian tune” are main elements to identify the sort of Taiwanese Opera, besides, these tunes become the major representative tunes for current Taiwanese Opera. For manipulation, except Qi Zi, Du Ma, Za Nian can mix together, in order to necessary of performing, these tunes can blend with any sort of traditional drama or popular music, to present the field of musical character without limitation.
- 出版者：
- 主要出版者:中國文化大學戲劇研究所
- 出版地:臺北市
- 日期：
- 出版日期:2004
- 語言：
- 語文:中文
- 管理權：
- 典藏單位:國家圖書館
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