唯有朝云真识我 我演锡剧《苏东坡》中朝云的角色体会

大型原创锡剧《苏东坡》是江苏常州市锡剧团与江苏省演艺集团锡剧团联合创排的大型剧目。全剧表现的是苏东坡乌台诗案后被下狱、发配黄州,几番政坛起伏,念念不忘苍生,最后终老常州的故事。这是一部思想厚重的戏,朝云则是剧中唯一的年轻女性角色,也是剧中一抹轻盈的亮色。相比中心人物苏东坡,朝云起了烘云托月的作用,戏份并不多,但是相当重要。

剖戏情 析人物——在《凌霄花开》一剧中扮演汪根娣的角色体会

为迎接中国共产党成立100周年,我们贵池区黄梅戏剧团创作排练了大型现代黄梅戏《凌霄花开》,演出后反响较好。特别是在第九届中国(安庆)黄梅戏艺术节展演后,得到专家和广大观众的一致好评。这部戏是红色题材剧目,反映的是我们池州首位共产党员凌霄,在白色恐怖下,深入敌后,团结劳苦大众,为壮大党员队伍、发展革命武装,与反动势力作不解斗争,为了革命的成功、劳苦大众的解放,不惜牲生命的赞歌。

浅谈山二黄行当和表演体会

竹溪山二黄剧种是湖北省现存的9个地方稀有剧种之一,被誉为“汉剧之母”。行当在戏曲中可以理解为演员的分工和表演技巧,每个行当有着自己特有的表演特性和程式化分工。本文从角色体会入手,试图阐释舞台表演对既定角色的二度创作。

浅谈演员对体验派表演体系的掌握与运用

在演员进行表演过程中,不同的派别有不同的表演风格。在体验派表演过程中,演员注重深入挖掘剧本内容,从整体上感知和理解剧本,通过了解人物之间的关系,揣摩人物性格。在表演时,他们能运用动作和语言刻画有血有肉的角色,使表演更具有感染力,激发观众的兴趣。

Feminism in Theistic Humanism： The Question of Gender Discourse in African Philosophy

An inquiry into the ontology of critical gender consciousness in Africa Philosophy is long overdue. Hitherto discourses on gender problems lost focus because of the tendency to leave out the gaps in culture created by colonial experience, modernity＇s assaults and unAfricaness in ontology and essence. It is argued here that the fulcrum for a legitimate feminist doctrine is Theistic Humanism, the philosophy of African philosophy that exposes the epistemological and metaphysical basis of the rightful and ethical place of women in the society without injury, injustice and abuse on womanhood. Theistic Humanism as an ontology and cosmology abhors class struggle among husbands, wives, sons, daughters, etc.. Class struggle between men and women degenerated from the oneness of being ontology and Gender community where husbands and wives were happily married with different complementary social roles for the preservation of society.

An Indigenous Yoruba Socio-political Model of Conflict Resolution

In indigenous and contemporary societies, different elements of social and political institutions have come up with various inner mechanisms that are unique to their societies that can adjudicate in conflict situations. In traditional, indigenous Yoruba societies, agba （elders） were usually relied upon as agents and institutions of conflict resolution in view of certain qualities possessed by this category of people. This paper focuses attention on the role of agba （elders） in conflict resolution at various levels of Yoruba life. We acknowledge that agba （elders） have performed these roles in traditional, indigenous Yoruba societies. The opinion expressed in this paper is that agba, as theoretical and practical conflict resolution mechanism, can be philosophically developed and used as an alternative model to the current means of resolving conflicts through wars and terrorism and other forms of violence by aggrieved individuals and groups in national and international arenas.

聊聊戏曲谚语(六)

做功三扮不如一随注:此系钱宝森先生所言。讲演员演戏要将自己的身心投入角色之中,不可脱离角色的内心刻画,一味地在外部形象、动作上下功夫。“三扮”指角色的外部装扮和动作;“一随”指演员以自己的身心深入角色体会和表达角色的心灵世界。