论声乐表演中紧张与放松的辩证关系.doc

摘要:歌唱是通过人体自身的“生理乐器”运用音乐化的语言，表达心理情感的表演艺术。由于发声器官在口腔深处，一般正常状态下看不到、摸不着。歌唱过程中无论横膈膜动作还是声带活动，以及对呼吸与咽喉的控制，都属于局部过程，而当每一过程发挥良好并与另一过程衔接自如时，我们就得到了内在的协调，这就是我们要找的“放松”的状态。在声乐学习和表演的过程中，由于歌唱的内在器官还未达到协调，加之一些不稳定的心理因素，就出现了莫名的“紧张”。本文将从几个方面分析和论述声乐表演中“紧张与放松”的辩证关系。

关键词：声乐表演 ；紧张； 放松； 辩证关系

Abstract:Singing through the body's own "physical instrument " music of the language used to express psychological emotional performing arts. The vocal organs in the oral cavity depths, the normal state can not see or touched. The course of action, whether singing or vocal activities in the diaphragm and the control of respiratory and throat, all belong to the local process, and when to play well with each other during the process of convergence with ease, we get the internal coordination, which That we are looking for the "relaxed"state. In the process of vocal learning and performance, due to the internal organs has not yet reached singing coordination, coupled with some psychological factors of instability, there have been inexplicable "tense. " This paper will analyze and discuss several aspects of vocal performance of "tension and relaxation, " the dialectical relationship.

Key words: Vocal Performance; tension; relax; dialectical relationship

　　声乐艺术是一门特殊的学科，它的特殊性就在于人体生理存在的个性化及物理、心理效应。它的这一特殊性使它有别于其它学科，也正是由于这一特殊性决定了它的教学模式和教学方法，基本上是采用个别授课的形式。这就要求在教学过程当中，既要掌握个别对待的原则，又必须遵循具有普遍性、一致性的客观规律。大部分初学者都会出现“紧张”状态，而在教学中教师不断强调的“放松”状态并不是纯粹自然的松弛或者松垮，而是身体各个歌唱器官在一种积极状态下达到的“放松”，是我们经过训练后使身体各个环节在不假思索的情况就能达到的协调的最佳歌唱状态，这不是自然而是自如。因此，在声乐训练以及舞台表演面临的众多问题当中，首先应该解决的当属“紧张”和“放松”的问题，并且以辩证的态度对待他们。