我国传统戏曲有着悠久的历史,无论在民族特色、地方风格、表现手法等方面均独具神韵。而发挥戏曲演唱艺术,使其嗓音永葆青春,则是戏曲工作者多年来不断探讨研究的课题。近年来,我们先后对我省部分剧团的演员在嗓音训练和噪音保护方面,进行摸底调查,现就戏曲演员在嗓音训练方面的某些问题,略谈一点鄙陋之见。 一、戏曲演唱与科学发声 戏曲声腔既不同于声乐歌曲歌剧,又不同于欧洲及意大利的美声唱法。戏曲剧种甚多,语言繁杂,戏曲中的老旦、小生、青衣、花脸,如果也采用歌剧中的女中音、男高音、女高音和男中音的演唱,那势必搞得四不像,也失掉了地方戏曲的个性。声乐发声强调通畅、松驰,注重字腹的延长,戏曲演唱要求流畅、自然,为表现声腔 China's traditional opera has a long history, both in the national characteristics, local style, performance techniques are unique charm. And to play opera singing art, make its voice forever young, is the opera workers over the years continue to explore the topic. In recent years, we have carried out a thorough investigation of the actors in some of the troupes in our province in voice training and noise protection. Now we are somewhat disagreeable about certain issues in the training of opera actors in voice. First, the opera singing and scientific voice The opera voice is different from the vocal song opera, but also different from the European and Italian vocal singing. There are so many operas and languages ​​in the opera. Lao Dan, niche, Tsing Yi and Hua Bian Lian in the opera are bound to be out of place and lose their place if they are sung by the opera's tenor, tenor, soprano and baritone. Drama personality. Vocal vocal emphasis on smooth, loose, pay attention to the extension of the word belly, opera singing requirements smooth, natural, to express the sound cavity