請用此 Handle URI 來引用此文件:
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/27438
完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 朱靜美(Ching-Mei Chu) | |
dc.contributor.author | Hsiao-Chiao Yin | en |
dc.contributor.author | 尹筱喬 | zh_TW |
dc.date.accessioned | 2021-06-12T18:05:00Z | - |
dc.date.available | 2013-02-18 | |
dc.date.copyright | 2008-02-18 | |
dc.date.issued | 2008 | |
dc.date.submitted | 2008-01-11 | |
dc.identifier.citation | 參考書目
Allan, Robin. Walt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney. Bloomington: Indiana University Press, 1999. Altman, Richard and Mervyn Kaufman. The Making of a Musical: Fiddler on the Roof. New York: Crown Publishers, 1971. Anobile, Richard J. The Best of Buster. New York: Darien House, 1976. Avital, Samuel. Mime and beyond : the silent outcry. Prescott Valley: Hohm Press, 1985. Blair, Preston. Cartoon Animation. Walter Foster:Laguna Hills, 1994. Berkson, Robert. Musical theatre choreography: a practical method for preparing and staging dance in a musical show. London: A & C Black, 1990. Bloc, Geoffrey. Enchanted Evenings: the Broadway musical from Show boat to Sondheim. New York: Oxford University Press, 1997. Bordman, Gerald. American Musical Theatre: A Chronicle. New York: Oxford University Press, 2001. Burgess, Thomas de Mallet and Nicholas Skilbeck. The singing and acting handbook : games and exercises for the performer. New York: Routledge, 2000. Canemaker, John. Paper Dreams: The Art and Artist of Disney Storyboards. New York: Disney, 1999. Carr, Henry. “The Only Unpaid Movie Star.” American Magazine. 1931. Chaplin, Charles. My Autobiography. New York: Simon and Schuster, 1964. Chapin, Ted. Everything Was Possible: The Birth of the Musical Follies. New York: Alfred A. Knopf, 2003. Christen, Kimberly A. Clowns & tricksters : an encyclopedia of tradition and culture. Denver: ABC-CLIO, 1998 Cookman, Lesley. Writing a pantomime : how to write and deliver a successful traditional script. Oxford: How to Books, 1998. Cote, Peter and Thelma Niklaus. The Little Fellow. New York: Citadel press, 1965. Davies, Gill. Staging a pantomime. London: A & C Black, 1995. Davis, Janet M. The Circus Age: Culture and Society under the American Big Top. Chapel Hill: The University of North Carolina Press, 2006. Dean, Alenxander. Fundamentals of Play Directing. New York: Holt, Rinehart and Winston, 1964. -----, “Freakishly, Fraudulently Modern.” American Quarterly. Sep 2003, p.525-538 Decroux, Etienne. Words on mime. Claremont, Calif.: Pomona College Theatre Dept., 1985. Diamond, Arthur. The Importance of Charlie Chaplin. San Diego: Lucent Books, 1995. Disher, Maurice Willson. Clowns & pantomimes. New York: Blom, 1968. Doctor, Pete, The Art of Monsters, Inc. Chronicle Books: San Francisco, 2001. Donald W. McCaffrey, ed. Focus on Chaplin. New York: Prentice Hall 1972. Everson, William K. American Silent Film. New York: Da Capo, 1998. -----, “A woman of Paris.”(Review). Film Comment VIII/3. Sept-Oct 1972, 15-16. Eustis. Morton. “Custard Pie to Cartoons.” Theatre Arts Monthly. Sept. 1938, 675-81. Fayne Pilling. Ed. A Reader in Animation Studies. Sydney: John Libbey, 1997. Feder, Happy Jack. Clown skits for everyone. Colorado Springs, Colo.: Meriwether Pub., 1991 Foster, Susan Leigh. Choreography & narrative : ballet's staging of story and desire. Bloomington : Indiana University Press, 1996. Furniss, Maureen. Ed. with the assistance of Stormy Gunter. Chuck Jones: conversations. Jackson : University Press of Mississippi, 2005. Gilbert, Douglas. American Vaudeville: Its Life and Times. New York: Dover Publications, 1963. Goldmark, Daniel. Tunes for 'Toons: Music and the Hollywood Cartoon. Berkeley: University of California Press, 2007. Grant, Mark N. The rise and fall of the Broadway musical. Boston: Northeastern University Press, 2004. Grant, John. Masters of animation. New York: Watson-Guptill Publications, 2001. Hooks, Ed. Foreword by Brad Bird; illustrations by Paul Naas. Acting for animators: a complete guide to performance animation. Portsmouth: Heinemann, 2003. -----, Acting in animation: a look at 12 films. Portsmouth: Heinemann, 2005. Huff, Theodore. Charlie Chaplin. New York: Arno Press, 1972. Jackson, Kathy Merlock. “Mickey and the Tremp.” The Journal of American Culture. Vol. 26, 2003, 439-444. -----, Walt Disney: conversations. Jackson: University Press of Mississippi, 2006. Johnson, Brain D. “Circus du Success.” Maclean’s No.20, Vol. 111. Johnston, Ollie, and Thomas, Frank. The Illusion of Life: Disney Animation. New York: Walt Disney Production, 1981. Jordan, Denise. Circus clowns. Chicago: Heinemann Library, 2002. Kerr, Walt. The Silent Clowns. New York: Da Capo, 1975. Kipnis, Claude. The mime book. Ed.& coordinated by Neil Kleinman. Colorado: Meriwether Pub., 1974. Krutnik, Frank. Ed. Hollywood comedians, the film reader. London: Routledge, 2003. Leabhart, Thomas. Modern and post-modern mime. Hampshire: Macmillan, 1989. LeMaster, David James. Charlie Chaplin and Harpo Marx as Masks of the Commedia dell’Arte: Theory and Practice. Texas Tech University, 1995. Loeschke, Maravene Sheppard. All about mime: understanding and performing the expressive silence. Englewood Cliffs, : Prentice-Hall, 1982. Litherland, Janet. The clown ministry handbook. Colorado Springs, Colo.:Meriwether Pub., 1989. Lust, Annette. From the Greek mimes to Marcel Marceau and beyond: mimes, actors, Pierrots, and clowns: a chronicle of the many visages of mime in the theatre. Lanham, Md.: Scarecrow Press, 2000. Lynn, Kenneth S. Charlie Chaplin and His Time. New York: Simon & Schustrer, 1997. MacCann, Richard Dyer. The Silent Comedians. Iowa: Image & Idea, 1993. Maltin, Leonard. The Great Movie Comedians. New York: Crown, 1978. -----, The Disney Films. New York: Disney, 2000. Mast, Gerald. The Comic Mind: Comedy and the Movies. Chicago: University of Chicago Press, 1973. McCaffrrey, Donald W. Focus on Chaplin. London: Spectrun, 1971. McDonald, Gerald D. Michael Conway, and Mark Ricci.The complete films of Charlie Chaplin. Secaucus: Citadel Press, 1988. McVicar, Wes. Clown act omnibus: everything you need to know about clowning plus over 200 clown stunts. Colorado Springs, Colo.: Meriwether Pub., 1987. Mehl, Dieter. The Elizabethan dumb show; the history of a dramatic convention. London: Meuthen, 1965. Mel Gordon. Lazz: The Comic Routnes of the Commedia dell’arte. New York: PAJ, 1983. Miller, D.A. Place for us : essay on the Broadway musical. Cambridge: Harvard University Press, 1998. Mordden, Ethan. Beautiful mornin' : the Broadway musical in the 1940s. New York: Oxford University Press, 1999. Murray, Marian. Circus!: from Rome to Ringling. New York: Appleton-Century-Crofts, 1956. Nicoll, Allardyce. Masks, mimes and miracles: studies in the popular theatre. London: G. C. Harrap, 1931. Niedzialkowski, Stefan. Beyond the word: the world of mime, Michigan: Momentum Books Ltd., 1945. Oxenford, Lyn. Design for Movement. London: J. Garnet Miller, 1983. Pearson, Roberta E. Eloquent Gestures. Berkeley: University of California Press, 1992. Platner, Samuel Ball. A Topographical Dictionary of Ancient Rome. London: Oxford University Press, 1929. Rasky, Frank. “80 millions a year from fantasy.” Star Weekly. 14 Nov. 1964, 8-11. Reed. Nancy B. “The Equestrian Standing Race and Its Ancient Antecedents” Journal of Sport History, Vol. 23, No. 2, 157-164. Robert E. Abrams. Treasures of Disney animation art. New York: Artabras, 1982. Robinson, David. Charlie Chaplin: Comic Genius. New York: Discoveries, Harry N. Abrams, 1995. Rudlin, John. Commedia dell'arte: an actor's handbook. London: Routledge, 1994. Sandler, Kevin S. Reading the rabbit: explorations in Warner Bros. animation. New Brunswick: Rutgers University Press, 1998. Simon, Eli. Masking unmasked: four approaches to basic acting. New York: Palgrave Macmillan, 2003. Sobel, Bernard. A Pictorial History of Vaudeville. New York: The Citadel Press, 1961. Stein, Charles W. American Vaudeville as Seen by Its Contemporaries. New York: Alfred A. Knopf, 1984. Stoddard, Helen. Rings of desire: circus history and representation. Manchester: Manchester University Press, 2000. Stohrer, Sharon. The singer's companion. New York: Routledge, 2006. Storey, Robert. Pierrot: A Critical History of Mask. Princeton: Princeton University Press, 1978. -----, Robert F. Trans. Mark Piper. Pierrots on the stage of desire: nineteenth-centuryFrench literary artists and the comic pantomime. Princeton: Princeton University Press, 1985. Tait, Peta. Circus bodies: cultural identity in aerial performance. NY: Routledge, 2005. Tieman, Robert. The Disney treasures. New York: Disney Editions, 2003. Thomas, Bob. Walt Disney: An American Original. New York: Hyperion, 1994. Tully, Jim. Circus parade. New York: Literary Guild of America, 1927. Vaz, Mark Cotta. The Art of Finding Nemo. Chronicle Books, 2003. Wadsworth, Philip. A. Molière and the Italian Theatrical Tradition. Paris: French Literature Publication Company, 1977. Walker, Katherine Sorley. Eyes on Mime. New York: The John Day, 1969. Webster, Chris. Animation : the mechanics of motion. Oxford: Elsevier Focal Press, 2005. Weishar, Peter. Blue Sky:The Art of Computer Animation : Featuring Ice Age and Bunny. New York: Harry N. Abrams, 2002. Wells, Paul. Understanding animation. New York: Routledge, 1998. Williams, Richard. The Animator’s Survival Kit. New York: faber and faber, 2001. 邱瑗。音樂劇的九種風情。台北:音樂時代文化,2006。 陳煒智,陳芸芸。黃金年華舊歡如夢─歌舞劇場的絕代巨擘 1900~1960。台北: 音樂時代文化,2006。 陳煒智,陳芸芸。革新歲月錦繡前程─歌舞劇場的絕代巨擘1960~。台北:音樂 時代文化,2006。 黃玉珊,余為政編。動畫電影探索。臺北市 : 遠流,1997。 | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/27438 | - |
dc.description.abstract | 藝術形式隨著時代不斷流變,遞嬗之際,前人的智慧精華以不同的形式保存於現代的各種藝術之中。馬戲、音樂劇、默片與默劇分別在表演藝術史上佔有一席之地,也都曾是盛極一時的娛樂形式,經由各自的演進脈絡或直接、或間接地影響了新興的動畫電影,為動畫創作提供了豐富的養料。華德.迪士尼與團隊中的動畫師們積極汲取身邊所有可利用的資源充實迪士尼的作品、加強動畫的表演性並提升其藝術價值,成功開創了海闊天空的動畫王國。本文從戲劇與表演的角度探究上述表演藝術與迪士尼動畫之間的傳承關係以及這些藝術形式如何活用、實踐於動畫之中,諸如:馬戲的動物秀、特技雜耍、怪人秀;音樂劇的綜藝秀、富麗秀、角色心曲與場面調度;默片的丑角表演、感性入情;默劇的肢體分割與喜劇橋段等等。經過史料的整理以及表演的比較、分析,發現上述藝術形式與迪士尼動畫之間存在密切的美學傳承,並進一步證實這些表演藝術的珍貴資產的確能夠順利融入動畫媒體中,且對於動畫的表演美學與藝術價值大有貢獻。 | zh_TW |
dc.description.abstract | Although types and forms of art would change with time, its essence and crafts would be kept and pass on to another art forms. Circuses, musicals, silent films and mimes were once some rather prevailing types of entertainment, and they respectively play important roles in the history of dramatic and performing art. Either directly or indirectly, they affect the emerging animation and provide it with valuable, abounding resources. Walt Disney and all the animators in his group actively extract and make use of the available resources to substantiate their animation and to enhance the theatricality and artistic value of the movies. Due to their efforts, they have successfully established the animated “Disneyland.”
From the perspective of dramatic and performing art history, this study delves into the relationship between the previous types of performing art and the Disney animation. The focus is on how Disney animated movies employ and appropriate those types of performing art. Through the archive studies and analysis, it is found that such conventions and aesthetics as animal show, freak show, and acrobatics and juggling in circuses, vaudeville, follies, and character statement and choreography in musicals, clowning, and pathos in silent films, body isolation and lazzi in mimes have passed on to the Disney animated movies. Finally, this study shows that those types and conventions of previous performing art have been well integrated into the animation and contributed greatly to the aesthetics of animation art. | en |
dc.description.provenance | Made available in DSpace on 2021-06-12T18:05:00Z (GMT). No. of bitstreams: 1 ntu-97-R93129010-1.pdf: 939682 bytes, checksum: 92a428a653210af931b8c7984de6c186 (MD5) Previous issue date: 2008 | en |
dc.description.tableofcontents | 目錄
中文摘要 v 英文摘要 vi 第一章 緒論 1 一、研究背景與目的 1 二、文藝復興之途 6 三、研究範圍與限制 11 第二章 馬戲表演與迪士尼動畫 12 馬戲與動畫之淵源 12 馬戲對動畫的影響 13 以馬戲為題材 13 喜好刺激的娛樂心理效應 14 擬人動物秀 16 雜耍與特技的融入 19 怪人秀 21 馬戲丑角表演 23 第三章 音樂劇在迪士尼動畫中的表現 26 音樂劇與迪士尼動畫之淵源 26 華特迪士尼的洞燭機先 26 與音樂劇的正式結合 28 秀場紅星的加入 29 音樂劇在迪士尼動畫中的具體表現 32 綜藝秀 32 富麗秀 35 音樂劇的影響 38 第四章 默片與迪士尼動畫 50 默片與動畫之淵源 50 丑角表演 51 感性入情 63 逆境中的弱小角色 67 隱匿的私密情感 70 第五章 默劇與迪士尼動畫 75 默劇與動畫的共通性 75 默劇與動畫的相通特質 76 畫格概念 76 角色 78 兒童觀眾 80 默劇技法應用 81 精準的肢體動作 81 能量 83 肢體分割與慢動作 84 視覺幽默與對比 87 喜劇橋段設計──拉奇 89 第六章 結論 96 | |
dc.language.iso | zh-TW | |
dc.title | 動畫文藝復興:迪士尼動畫之戲劇美學溯源 | zh_TW |
dc.title | The Animation Renaissance:
Tracking Down the Performing Aesthetics of Disney Animation | en |
dc.type | Thesis | |
dc.date.schoolyear | 96-1 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 李賢輝(Hsien-Hui Lee),鄭俊皇(Chun-Huang Cheng) | |
dc.subject.keyword | 動畫,迪士尼,表演,馬戲,音樂劇,默劇,默片, | zh_TW |
dc.subject.keyword | animation,Disney,acting,performance,circus,musical,silent film,mime, | en |
dc.relation.page | 109 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2008-01-11 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 戲劇學研究所 | zh_TW |
顯示於系所單位: | 戲劇學系 |
文件中的檔案:
檔案 | 大小 | 格式 | |
---|---|---|---|
ntu-97-1.pdf 目前未授權公開取用 | 917.66 kB | Adobe PDF |
系統中的文件,除了特別指名其著作權條款之外,均受到著作權保護,並且保留所有的權利。