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戏曲是一门综合艺术,戏曲化妆是综合艺术中的一个重要组成部分;戏曲化妆并不是通常所理解的那种脸上涂点油彩就行了的做法,通过多年的化妆工作经历,使我更深层次对化妆艺术的理解,重新审视化妆工作的艺术性,提高对化妆艺术的认识。 一、化妆设计与导演的关系 每台戏的化妆设计,设计者必须认真阅读剧本,了解剧情及时代背景,人物的年龄结构变化,其中包括朝代、民族、地域等诸多要领,切不可不作任何分析,凭空想象,进行设计。通过对剧本的理解,首先要与该剧导演进行人物化妆设计的沟通,倾听导演的意见和设想,这样能使全剧人物化妆造型达到统一,使设计者在创作上能有机的结合,接近导演的整体构思,使全剧更完整,更协调,按导演的要求,充分体现剧中人物的外貌特征及人物个性。大型传统庐剧“休丁香”剧中
Opera is a comprehensive art, drama makeup is an integral part of the art of synthesis; opera make-up is not the kind of face usually painted oil on the line practice, through years of makeup work experience, so that I deeper level The understanding of make-up art, re-examine the artistry of make-up work to improve the understanding of make-up art. First, the makeup design and director of the relationship between the makeup of each game design, designers must carefully read the script, understand the story and the background of the times, the age structure of the characters, including the dynasties, ethnic groups, geographical and other essentials, must make any analysis , Imagination, design. Through the understanding of the script, we must first communicate with the director of the make-up design and listen to the director’s opinions and ideas so as to unify the make-up style of the play so that the designer can organically combine his writing with the director The overall idea of making the play more complete and more coordinated, according to the director’s request, fully reflect the appearance and personality of the characters in the play. Large-scale traditional Lu play “Hush clove” play