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经过了几年的声乐教学工作,我发现声乐表演专业学生在琴房里可以很好的演唱,但是一旦到了舞台上,由于其文学素质和表演存在一定的不足,无法游刃有余的完整的表现声乐作品。并且在琴房的教学中,大部分专业老师,都侧重于学生的声音技巧和共鸣腔体的训练,忽略了进入歌曲演唱时,应该更加注重学生的声乐表演能力的培养,有的学生甚至还处于原始的自然状态,肢体紧张僵硬,眼睛不自然的到处乱看,手也摆放不自如,舞台上的走动显得那么的生硬。如何在声乐教学工作中,多加入声乐表演的训练,是每一个学生和老师都应该努力的方向。每一个声乐演唱者,全情的投入,富有感染力的演唱,做到既能唱又能演,才是我们每一位声乐工作者和声乐学生应该达到的目的,才能达到培养和造就他们成为全面的声乐表演人才的目的。
After several years of vocal teaching, I found that vocal performance students can perform well in the piano room, but once they reach the stage, due to their literary quality and performance, there is a certain lack of complete vocal performance . And in the teaching of piano room, most of the professional teachers are focused on the students ’voice skills and resonance cavity training, ignoring the singing into the song, we should pay more attention to students’ vocal performance ability training, and some students even In the original state of nature, limbs rigid and rigid eyes unnatural chaos everywhere, hands are also placed on the stage of the move seems so blunt. How to train more vocal performances in the teaching of vocal music is the direction that every student and teacher should work hard. Each vocal singer, full of input, infectious singing, so that both singing and acting, is that every one of our vocal workers and vocal students should achieve the goal, in order to achieve the development and training of them to become The purpose of a comprehensive vocal performance talent.