“人”的表演——刍议戏曲动画表演基础  

The Performance of“Human”—Ruminate on the Basis of Xiqu Animation Performance

作　　者：马潇婧 MA Xiaojing(Beijing Institute of Graphic Communication,Beijing 102600,China)

机构地区：[1]北京印刷学院,北京102600

出　　处：《北京印刷学院学报》2024年第1期70-74,共5页Journal of Beijing Institute of Graphic Communication

基　　金：北京市教育委员会科学研究计划项目“数字技术语境下动画表演研究”(SM202310015001)阶段性成果;北京市高等教育学会2022课题“高校动画专业‘剧作+表演’课程思政创新教学模式研究”(MS2022092)阶段性成果。

摘　　要：戏曲动画脱胎于中国戏曲艺术,带有鲜明的民族特色,是一种特殊的类型动画。戏曲艺术是运用歌舞表演讲述故事,在与画面讲述故事的动画艺术融合后,戏曲动画是否仍存在“表演”成为其创造的关键问题。事实上,戏曲动画中不仅存在表演而且正是以“人”为主体的动画歌舞表演。它以戏曲程式化表演作为范式,又带有鲜明的动画表演特征,最终形成了独特的戏曲动画表演体系。因此,本文以戏曲动画表演为研究对象,从表演本体特征、表演主体等维度进行分析,通过对戏曲动画表演的拆解,以期探讨其“表演性”“民族性”“主体性”特征。Xiqu Animation is born from Chinese Xiqu art,with distinctive national characteristics,and is a special type of animation.After the fusion with the animation art of storytelling,the question of whether there is still“performance”in Xiqu Animation becomes the key issue of its creation.As a matter of fact,there is not only performance in Xiqu Animation but also animation song and dance performance with“human”as the main character.It takes Xiqu programmed performance as a paradigm,but with distinctive animation performance characteristics,and finally forms a unique Xiqu Animation performance system.Therefore,this paper takes Xiqu Animation performance as the research object,analyzes it from the dimensions of performance ontology characteristics and performance subject,and explores its“performativity”,“ethnicity”and“subjectivity”through the dismantling of Xiqu Animation performance.The characteristics of“performativity”,“ethnicity”and“subjectivity”are discussed.

关 键 词：戏曲动画 动画表演 表演主体 民族性 

分 类 号：J954[艺术—电影电视艺术]