歌剧演唱家女高音手势运用及肢体表现之探讨AStudyontheOpera.PDFVIP

明新學報 31 期 pp.207-222 Volume 31, Ming Hsin Journal, October 2005 歌劇演唱家（女高音）手勢運用及肢體表現之探討 廖美瑩 明新科技大學幼兒保育系 新竹縣 304 新豐鄉新興路一段 1 號 摘要 本研究的目的在探討台灣歌劇演唱家之手勢運用及肢體表現。主要的研究方法是採半結構式的訪 談，共有四位台灣知名的歌劇演唱家接受訪問。為了了解歌唱家之手勢及肢體表現，演唱家們被邀請現 場演唱『喔!親愛的爸爸』兩次，之後針對手勢及肢體的表現做深度的訪談。根據訪談的內容分析發現， 年紀小經驗不足時有較多的手勢，隨著年紀的增長及演唱技巧的成熟，手勢反而少。在演出中手勢到底 多少才恰當似乎見仁見智，舞台上之動作到底如何拿捏，各家也都有不同的觀點，但任何動作手勢必須 要有動機及目的。在歌劇演出中手勢有其必要性及功能性，手勢具有下列幾項功能：（1）抒發情感、（2 ） 詮釋歌曲、（3 ）展現個人風格、（4 ）輔助歌唱技巧、（5 ）增加情緒表達、（6 ）與伴奏及觀眾溝通、及（7 ） 掩飾作用。此研究建議歌劇演唱者多針對自己肢體表現做深入探討，運用手勢技巧以其增加演出的完美 性。 關鍵字：手勢、肢體、歌劇、演唱家、女高音 A Study on the Opera Singers’ (Soprano) Gesture Application and Bodily Expression Mei-Ying Liao Department of Early Childhood Education and Development, Ming Hsin University of Science and Technology 1 Hsin-hsing Road, Hsin-fong, Hsin-chu, Taiwan 304, R.O.C. Abstract The purpose of this study was to explore and analyze the Taiwanese opera singers’ gestures and bodily expressions. Semistructured interview was used for the research. There were four famous Taiwanese opera singers participated the present study. In order to understand the opera singer’ gestures, the singers were asked to sing ‘O mio babbino caro’ twice. Subsequently, the contents of interview focused on singers’ gestures and bodily expressions. The results of the interviews showed that the younger the ages, the more the gestures, and vice versa. The opinions for the amounts of gestures and how to make the appropriateness in performance were different. However, every gesture should have a purpose and motivation. Gesture is necessary in opera and its functions are: (1) to expr