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摘 要：《白毛女》是中国歌剧史上第一部真正意义上的民族歌剧。它的出现掀起了中国民族歌剧的高潮，是中国民族歌剧发展初期最有影响力的一部经典作品，为中国培养了一代又一代优秀舞台表演艺术家。自1945年歌剧《白毛女》首演至今，经历了不同时期已有五代优秀的歌剧表演艺术家成功的塑造了“喜儿”这一角色，其中郭兰英与尤泓斐分别是第二代和第四代白毛女的扮演者。她们分别运用了戏歌唱法和美声唱法来诠释“喜儿”这一人物形象，并且他们也通过自身独特的表演风格与演唱特点为中国新歌剧做出了重要贡献。
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本文将选择郭兰英和尤泓斐两位艺术家在不同时期分别运用戏歌唱法和美声唱法来诠释“喜儿”这一角色时的歌唱方法进行比较，探讨中国传统民族唱法与西洋美声唱法在演唱中国民族歌剧时的优长与不足以及对中国民族歌剧的影响。10625
关键字：喜儿；戏歌唱法；美声唱法
Guo Lan Ying and You Hong Fei singing art of comparison
- to classic opera "white-haired girl" as an example
Abstract: The opera of white-is the first true sense of the national Chinese_opera history. It has raised the climax of Chinese national opera, is a masterpiece of the most influential Chinese National Opera of the initial stage of development, and cultivate a new generation of outstanding performing artists to Chinese stage. Since the 1945 opera "white haired girl" debut so far,experienced a period of the five generation of outstanding opera performing artist successfully created the role of "you", in which Guo Lanying and You Hongfei are respectively the second and fourth generations of the white haired girl who played, they were using the opera singing and Bel canto to interpret"this a character who", and they also through its own unique performance style and singing characteristics for the establishment of China new opera artistic integrity system made historic and pioneering contribution.
At the same time, this classic opera along with the development of national vocal music in different times by different artists deduction, re creation, also reflected the distinct characteristics of the times. Comparison of singing this will select two artists Guo Lanying and You Hongfei in this role during different interpretation of "you", to explore the Chinese traditional folk singing and bel canto singing at the advantages and disadvantages of China National Opera-and the Chinese national vocal music influence.
Key words:Xi’er；the play singing technique；the bel canto
目 录
摘要 1
Abstract 1
一、郭兰英与尤泓斐的艺术经历 3
（一）郭兰英所处时代及艺术经历 3
（二）尤泓斐所处时代及艺术经历 3
二 郭兰英歌唱艺术特点 4
(一）戏歌唱法的运用 4
（二）润腔技巧 4
（三）形体表演 6
三、尤泓斐歌唱艺术特点 7
（一）美声唱法的运用 7
（二）民族韵的表达 9
四、两代歌唱家在诠释“喜儿”一角时的优长与不足 11
（一）声音技巧 11
（二）情感表现 12
五、郭兰英与尤泓斐的歌唱艺术对中国民族歌剧的影响 12
（一）郭兰英对中国民族歌剧的影响 12
（二）尤泓斐对中国民族歌剧的影响 12
参考文献 15
致谢 16
郭兰英和尤泓斐歌唱艺术之比较