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                            当前位置: 代写一篇论文多少钱 > 艺术论文 > 舞剧《生活在别处》的角色特征与道具应用

                            舞剧《生活在别处》的角色特征与道具应用

                            时间:2020-04-18 10:37作者:蔡芳
                            本文导读:这是一篇关于舞剧《生活在别处》的角色特征与道具应用的文章,舞剧《生活在别处》以姐姐高卫红、哥哥高卫国、弟弟高卫强为主要人物,其中,高卫红是核心角色,围绕着这一角色,创作者王枚和张守和展开了深度的叙事。舞剧讲述了在二十世纪七八十年代,一个普通工人家庭中三个子女

                              摘    要:牛牛游戏厅安卓,{原始关键词} 舞剧《生活在别处》取材于电影《孔雀》,讲述的是一个关于梦想的故事。梦想是人类对于美好事物的一种憧憬和渴望,而大多数人在不甘梦想的破灭中还是选择了向现实妥协。本文主要从内容、角色、道具这三个方面对该部舞剧进行深刻剖析,以期探索其存在价值。

                              关键词: 内容; 角色; 道具;
                              
                              一、主要内容

                              WUJU《SHENGHUOZAIBIECHU》YIJIEJIEGAOWEIHONG、GEGEGAOWEIGUO、DIDIGAOWEIQIANGWEIZHUYAORENWU,QIZHONG,GAOWEIHONGSHIHEXINJIAOSE,WEIRAOZHEZHEIYIJIAOSE,CHUANGZUOZHEWANGMEIHEZHANGSHOUHEZHANKAILESHENDUDEXUSHI。WUJUJIANGSHULEZAIERSHISHIJIQIBASHINIANDAI,YIGEPUTONGGONGRENJIATINGZHONGSANGEZINVGEZIDESHENGHUOZHUANGTAIHEXINLULICHENG。WUJUYIJIEJIEGAOWEIHONGDUIYUANFANGDECHONGJINGZUOWEIXUMU;SUIHOUYIDUANZHENSHISHENGHUOZHUANGTAIDEWUDUANBIAOXIANLEJIEJIEHEDIDIYAYIYUCHENMENDEJIATINGSHENGHUOZHONG,SHIJIEJIEDUIXIANSHISHENGHUOZHUANGTAIDEBUMAN;CHUYUDUIXIANSHISHENGHUOZHUANGTAIDEBUMAN,JIEJIESHITUZHENGTUOXIANSHIZHONGDESHUFU,CHENZUIYUZIJIHUANXIANGDEMEIHAOSHIJIEZHONG,SHIJIEJIEDUISHENGHUODEKANGJU;GEGEHUANYOUNAOJI,SHIDETADECUNZAIHESUOZUOSUOWEIRANGJIEDILIANGZAIZHONGRENMIANQIANXIANRUGENGDADEJIONGJING,TAMENJIANGYUANHENTOUXIANGGEGE,ZHEIYIDUANBIAOXIANDESHIJIEJIEZANGYUNEIXINDEYUANHEN;YOUYUXINZHONGYUANHENBUDUANJIASHEN,JIEDILIANGQITUHAISIGEGE,KEMIANDUILIANGXINDEQIANZE,JIEJIEWULIJIXUDISHITADEXIANSHI,BIAOXIANJIEJIENEIXINDEXINGWU;SHIGUANGLIUSHI,JIEDISANRENHAISHIZHONGFUZHETAMENFUMUYIYANGDERIZI,CIDUANBIAOXIANDESHIJIEJIEDUIYUSHENGHUODEHEJIE;ZUIHOU,JIEJIEZAIBUGANMENGXIANGDEPOMIEZHONGHAISHIJIESHOULEXIANSHI,RONGRULEXIANSHIDEHONGLIU。

                              二、主要角色及其性格特征

                              (一)高卫红:挣扎中的迁就

                              ZUOWEIWUJUZHONGDEHEXINJIAOSE,GAOWEIHONGDEGEXINGZUIWEIXIANMING,ERZUIWEIXIANMINGDETONGSHIYEYIWEIZHEZUIJUYOUFANKANGXINGHEBEIJUYIWEI。TAMANHUAIMENGXIANG,CHONGMANDOUZHI,QITUGAIBIANXIANZHUANGQUSHIXIANZIJILIXIANGZHONGDESHENGHUO。GAOWEIHONGZHEIBANDEYUWANGHEDONGLIZAIMEIGERENDEXINZHONGDOUSHIZHENSHICUNZAIDE,ZHISHIWULUNTADUOMEBUMANQUESHIZHONGWULIQUGAIBIANMINGYUN,YUSHISHIZHONGLUNXIANZAINEIXINDETONGKUYUJIAOZHUOZHIZHONG。TAZAIZHENGZHAZHONGQIANJIU,YEZAIQIANJIUZHONGZHENGZHA。

                              在舞剧中,有两个片段给观者以深刻的印象。首先,是高卫红等工人们在上班时一段整齐的群舞场面。重复、简单而又整齐划一的动作,描写了他们机械式的工作状态。同一的身体程式下,充分呈现出高卫红平淡且又毫无朝气的生活状态。尔后,音乐旋律减缓,高卫红的身心出离了。群舞人员依旧做着统一的身体程式,而她却站在了作业台上。延伸的身体姿态以及布满笑容的脸庞,将高卫红对自由的渴望与畅想等赋予心理式的表现。可是,画风一转,舒展的身体依旧还是回归于同一化的身体操练之中。通过这样的前后对比,完整地呈现出高卫红心中的无奈、压抑、挣扎与痛苦。她的身体麻木地操作着,可内心深处却溢满了不甘。其次,是父母坐在板凳上,每个人都紧挨在一起,形成了一张静态的全家福。尔后,音乐旋律变得急促起来,所有人都低下了头,父亲转身向后走去,然后是母亲,最后所有人统一向后转身,极其简单的动作却直接表达了一代人的更替。人物的不断消失和新生命的不断诞生富有深意,引人深思。紧接着音乐变得缓慢而又忧伤,一束聚光灯打在姐姐的身上,她孤独无依地坐在凳子上,低垂着头,双手紧握,身体一点一点地向内蜷缩,然后慢慢将身体抬起,眼睛望向远处,手也不自觉地抬起,又无奈地将手收回扶额。姐姐在生活的泥沼中不断摸索,可还是在不甘梦想的破灭中最终选择接受现实。编导将姐姐对理想生活的向往以及内心压抑不住的无奈和痛苦用一个简单的眼神和抬手进行了准确明了的表达。
                             

                            舞剧《生活在别处》的角色特征与道具应用
                             

                              (二)哥哥高卫国:简单而真实

                              GEGEHUANYOUQINGWEINAOJI,SHIYIGEZHIZHANGZHE,QUECONGWEIBEIFUMUBAOYUANFANERDEDAOLEGENGDUODENIAI。WUJUDEKAITOUHEJIEWEIDEBUFENDOUYOUZHEIYANGYIGEPIANDUAN:GEGEZUOZAIXIAOBANDENGSHANG,DIDIMANGQIANMANGHOUDIWEIGEGEANMO,JIEJIEJIGEGEXIZHETOU。ZAIJIAJIWANQIANCHONGAIYUYISHENDEGEGEZAISHEHUIZHONGQUEBAOSHOUQIFU,YOUDIANZISIHEYUBENDETAZAIJIAFENGZHONGSHENGHUO,HUODEJIANDANERZHENSHI。GEGEZAITADANCHUNDESHIJIEZHONGKUAILEDISHENGHUOZHE,MEIYOUFANNAOHEXUWEI,ZHENSHIERHUANLE。TADANCHUNDIRENWEIRENDOUSHISHANLIANGDE,DUIMEIGERENDOUBIAOXIANCHUTADESHANYIHEZHENXIN,DANCHUNDIZUOZHEZIJIXIANGZUODESHIQING。TAHEZHENGCHANGRENYIYANG,KEWANGYONGYOUTIANMIDEAIQING,YONGYIDADUOXIANGRIKUISONGJIZIJIXIAIDENVREN,SUIRANAIQINGSHIZISIDE,DANMEIGERENBIAODAAIDEQUANLISHIPINGDENGDE,TABUGUZHEIGENVZISHIFOUYIJINGYOULEAIREN,ZHISHIDANCHUNDIBIAODATAZIJIDEAIYI。

                              (三)弟弟高卫强:沉默却拥有极强的自尊心

                              ZAIYIJIAZHIZHONG,DIDISIHUSHIYIGEBUBEIZHUYIDEREN,FANGFOSHIYIGECHENMODEYINGZI,QIENUO、BEIWEI。DANSHISHISHANGDIDISHIYIGEZIZUNXINJIQIANGDEREN,TABIRENHERENDOUZAIYITARENDEYANGUANG。DIDIZAIWUJUZHONGDESHENTIXINGTAIHENSHAOYOUSHIFENSHUZHANDEDONGZUO,DUOYISHENTIQIANQING、WEIWEINEIHANDETITAIWEIZHU。DANGGEGEXIANGXINAIDENVZISONGXIANGRIKUIDESHIHOU,YINWEIZIJIHEJIEJIEZAOSHOUDAOLEYIYANGDEYANGUANG,XIANRULEJIONGJING,SHIDEDIDIDEZIZUNXINSHOUDAOLEDAJI,TAYIBAJIANGXIANGRIKUIZHUAIDAOLEDISHANG,DONGZUOCONGERDUKONGJIANDAOYIDUKONGJIAN,BIAOXIANCHULEDIDINEIXINDEFENNU,SUIHOUZHIJIEQISHENYONGXIANGRIKUIMENGEGE,JIANGTANEIXINSUOYOUDEYUANHENDOUFAXIEDAOLEGEGEDESHENSHANG。

                              三、道具运用

                              (一)圆桌

                              “YUAN”SHIZHONGGUOCHUANTONGWENHUADEXINGTAIXIANGZHENG,XIANGZHENGZHE“YUANMAN”HE“BAOMAN”。YUANZHUOZAIZHONGGUOYUYITUANYUAN,LIYINGSHIYIGEXINGFUDEXIANGZHENG。ERZAIWUJUZHONG,YIJIAWUKOUZAIZHONGMUKUIKUIZHIXIACHENMODICHIFAN,YICHUDESHIYAYIDEQIFEN。YIJIARENCHIFANHAOWUJIAOLIU,FUMUJIANGZIJIDEJIAODIANDOUFANGZAILEGEGESHENSHANG,ERHOUXINGXUSHIGEGECHIDONGXIQIANGDAOLE,FUMUJIANGQITAIZHIZHUOMIAN,GEGECHENGLEYUANXIN,YIJIARENDOUWEIZHETAZHUAN,TASHIQUANJIARENBAOHUDEDUIXIANG,YESHIJIEJIEHEDIDIJIDUDEDUIXIANG。JIEJIEKANZHEJIARENMENCHIFAN,NEIXINYICHUDEBUSHIXINGFUGANERSHIYIZHONGTONGKUYUWUKENAIHE,TASHITUZHENGTUOXIANSHIDESHUFU,CHENZUIYUZIJIDEXIANGXIANGSHIJIE。

                              (二)床单

                              CHUANGDANZHEIYIDAOJUBIANDAOFUYULETADUOCENGHANYI。SHOUXIAN,TAZHISHIJIANDANDECHUANGDAN;QICI,TAYESHIJIEJIEMENGXIANGDEYIGECHENGZAIWU,JIEJIEZUOZAIYIZISHANG,XIAOXINYIYI、YOUTIAOBUWENDIJIANGCHUANGDANDIEHAO,SIHUSHIZAIJIANGTANEIBUQIESHIJIDEMENGXIANGYIDIANYIDIANDIZANGYUXINZHONG,ZHIZAIXINZHONGWEITADEMENGXIANGLIUYIKUAIKONGJIAN;QICI,WUDAOYANYUANJIANGCHUANGDANCAIZAIJIAOXIA,JIANDANDEDONGZUOZHIJIEBIAOXIANLEMENGXIANGZAIXIANSHIMIANQIANDEMIAOXIAOYUBUKANYIJI;ZUIHOU,TAYUSHIZHEYIGEXINDESHENGMINGDEDANSHENG,YUNHANZHEXINDEXIWANG。ZHEIYIDAOJUDEYUNYONG,YINRENSHENSI,CHUANGDANRUXINSHENGDEYINGERYIBAN,JIEBAICHUNJING,WOMENYINGGAIYONGYOUZHEIBANDEXINLINGQUYINGJIEMEIHAODEWEILAI,JIANGSHENGHUOZHONGDEYALICAIZAIJIAOXIA,GAIBIANZIJIDEGUANXINGSIWEI,PAOQICHENJIUDESIXIANGHEBUKANDEGUOWANG。

                              (三)向日葵

                              XIANGRIKUIXIANGYANGERSHENG,YUYIJIJIXIANGSHANG,TADAIBIAOZHEJIJIXIANGSHANGDERENSHENGTAIDU,TONGSHITAYEYUYIYIZHIJIANDING,YONGWANGZHIQIAN。GEGEZAIWUJUZHONGSHIYIGESHENGLIYOUSUOQIANQUEDEREN,KETAHECHANGRENYIYANG,KEWANGYONGYOUTIANMIDEAIQING,TAJIANGYIDUODAXIANGRIKUISONGJIZIJIXIAIDENVREN,QUEBEIDUIFANGZHONGZHONGDIRENGZAILEDISHANG,ZHEIYESHIDETACHENGWEIZHONGRENDECHAOXIAODUIXIANG。ZHEIDUOXIANGRIKUISHIFENDEDA,TASHIGEGENEIXINDEYIGEWAIHUA,GEGEJIANGZIJIDUIMEIHAOSHENGHUODEZHUIQIUHEKEWANGYIJIDUIWEILAIDECHONGJINGJITUOZAILEXIANGRIKUISHANG,LIANTONGZIJIDEZHENXINYIQISONGJILEXINAIDEGUNIANG。YUCITONGSHI,ZHEIDUODAXIANGRIKUIYESHIYIGEFANFENG。DIDIYICIYOUYICIDIJIANGGEGESHOUZHONGDEXIANGRIKUIRENGZAIDISHANG,ERGEGEMEICIZHISHIMIANDAIWEIXIAOJIANGQIJIANQIBINGQINGQINGPAIQUHUICHEN,TAJIANGSHOUZHONGDEXIANGRIKUISHIRUOZHENBAO。GEGEDECUNZAIRANGJIEDILIANGZAIZHONGRENMIANQIANXIANRULEGENGDADEJIONGJING,TAMENJIANGYUANHENTOUXIANGGEGE,QITUYONGZHEIDUODAXIANGRIKUIMENSIGEGE,CONGCEMIANBIAOXIANCHUJIEDIDUIYUSHENGHUONEIXINDEZHENGZHAHEWUKENAIHE。

                              四、总结

                              BIANDAOZAIWUJUZHONGCHENGXIANLEFEICHANGZHENSHIDESHENGHUOZHUANGTAI。ZHEIBUWUJUYINGSHELERENMENZAIXIANDAIQIANGYADESHEHUIHUANJINGZHONGRENXINGDEBUTONGMIAN,NENGGOURANGZHENGTIANSHENGHUOYUZIJIHUANXIANGDEMEIHAOSHIJIEDERENKANDAOSHENGHUODEBENZHIBINGRENQINGXIANSHI,RANGBEISHENGHUOYAPODERENNENGGOUTOUGUOHEIANZHAODAOGUANGMING。MEIYIGERENYINGGAIXUEHUITANRANDIQUJIESHOUSHENGHUOSUOFUYUDEYIQIE,ZHENDEJIADE,HAODEHUAIDE,YONGJIJILEGUANDEXINTAIQUMIANDUIHEJIEJUEKUNNAN,ZAILILIANHECHENGZHANGZHONGSHIXIANZIWODETUIBIAN,DONGDERUHEQUZHANGKONGZIJIDESHENGHUOHEZIRUDISHENGCUN,XUEHUIHUOZAIDANGXIA,ZHENXISUOYONGYOUDEYIQIE。

                              参考文献

                              [1]刘玲.成长中的欲望意识——电影《孔雀》的后精神分析解读.电影评介.2007年(15):33-34.
                              [2]曹倪娜.在超现实主义中发现更真实的现实——观电影《孔雀》有感.美与时代(下半月).2009年(09):116-117.
                              [3]李薇.孔雀:三段式的悲伤.电影评介.2009年(02):40+58.

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