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作 者:石蕾[1] Shi Lei
机构地区:[1]浙江传媒学院
出 处:《艺术传播研究》2024年第5期134-144,共11页Journal of Art Communication
摘 要:20世纪的戏曲演出在内容和形式上不断探索新的可能性,其“听觉效果”也在不断丰富,审美视角变得多维。20世纪初,受话剧影响,戏曲演出中出现“音效”这一新的声源种类。20至40年代,现代戏的创编和导演制度的采用,促使戏曲音效得以大量运用,并催生出戏曲音效设计师这一声音设计的专职。60至70年代,“革命样板戏”的排演更是推动戏曲声音设计理念走向成熟。与此同时,现代大剧院的建造与应用,以及进入80年代后立体声、多声道等音频技术的发展,都推动戏曲演出的“听觉效果”变得更加丰富而细致,从追求朴素的“逼真性”与“闹热性”,演变为讲求音色丰满、音量均衡、整体有立体层次感的多维审美趋向。梳理20世纪戏曲演出“听觉效果”的审美发展历程,有助于持续构建戏曲舞台声音设计理论,提升戏曲演出的质量和传播效果。In the 20th century,traditional Chinese opera performances constantly explored new possibilities in terms of content and form,and their“auditory effects”were also constantly enriched,making the aesthetic perspective more multidimensional.At the beginning of the 20th century,influenced by drama,a new type of sound source called“sound effect”emerged in traditional Chinese opera performances.From 1920s to 1940s,the creation of modern drama and the adoption of the director system led to the widespread use of sound effects in traditional Chinese opera,giving rise to the specialized role of sound designers in this field.From 1960s to 1970s,the rehearsal of revolutionary model plays further promoted the maturity of the concept of sound design in traditional Chinese opera.At the same time,the construction and application of modern theaters,as well as the development of audio technologies such as stereo and multi-channel after the 1980s,have all driven the“auditory effects”of traditional Chinese opera performances to become richer and more detailed.They have evolved from pursuing simple“realism”and“liveliness”to a multi-dimensional aesthetic trend that emphasizes full-bodied sound,balanced volume,and overall three-dimensional layering.Sorting out the aesthetic development process of the“auditory effect”in 20th century traditional Chinese opera performances will help to continuously construct the theory of stage sound design in traditional Chinese opera,improve the quality and dissemination effect of traditional Chinese opera performances.
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