發(fā)布時(shí)間：2018-05-09 03:45

  本文選題：中國古典舞 + 動(dòng)律節(jié)奏��； 參考：《北京舞蹈學(xué)院》2017年碩士論文

【摘要】：節(jié)奏是一種藝術(shù)化的語言,是藝術(shù)表達(dá)中不可或缺的表現(xiàn)方式。中國傳統(tǒng)音樂中,琴瑟和鳴," 一弦一柱思華年"、玉笛暗飛,"散入春風(fēng)滿洛城"、坐臥箜篌,"昆山玉碎鳳凰叫"、猶抱琵琶,"大珠小珠落玉盤"、絲桐七弦,"調(diào)清聲直韻疏遲"。這些對音樂的描寫無不展現(xiàn)著節(jié)奏的藝術(shù)魅力。節(jié)奏賦予音樂藝術(shù)形象感和語言性,使中國傳統(tǒng)音樂形成了獨(dú)特的風(fēng)格審美。節(jié)奏在舞蹈中的作用更為重要,它突出和強(qiáng)調(diào)了古典舞鮮明的民族風(fēng)格,因此如何通過節(jié)奏加強(qiáng)對中國古典舞身韻動(dòng)律節(jié)奏的認(rèn)知和把握?如何通過動(dòng)律節(jié)奏中所表現(xiàn)出的動(dòng)勢、勁力、空間來強(qiáng)化中國古典舞的藝術(shù)表現(xiàn)力?成為我們必須思考的問題。當(dāng)古典舞通過"動(dòng)靜交融"、"對比統(tǒng)一"的運(yùn)動(dòng)法則呈現(xiàn)出"龍飛鳳舞"的動(dòng)態(tài)形象時(shí),就已鮮明地告訴我們,動(dòng)律飽含著豐富的節(jié)奏。中國古典舞身韻動(dòng)律節(jié)奏的概念包含兩點(diǎn):一是動(dòng)律節(jié)奏是內(nèi)外相合的,是身體從內(nèi)到外的節(jié)奏表現(xiàn)。二是動(dòng)律節(jié)奏是自在節(jié)奏,它不是從音樂或?qū)?音"的模仿中而來的,而是動(dòng)律自然存在的"自在節(jié)奏"。這種動(dòng)律節(jié)奏,在沒有音樂的情況下,同樣能夠體現(xiàn)動(dòng)勢、勁力、空間等藝術(shù)效果,形成動(dòng)作語言。本論文主要通過三個(gè)章節(jié)展開論述:第一章,中國古典舞與傳統(tǒng)音樂在節(jié)奏上的共性分析。舞蹈和音樂同為舞臺表演藝術(shù),節(jié)奏是二者共有的藝術(shù)表現(xiàn)手段。在節(jié)奏上都追求"線"性審美,古琴的"余音繚繞",昆曲的"一字?jǐn)?shù)轉(zhuǎn)"以及古典舞的"循環(huán)往復(fù)、起承轉(zhuǎn)合"都是對"線"性審美最好的詮釋。二者都以"氣"作為內(nèi)在技法,古琴曲需要彈奏者氣息的張力推動(dòng)琴聲的延展,昆曲則需要演員通過多種氣息技法來吐字行腔,古典舞"意氣力"內(nèi)三合是動(dòng)律產(chǎn)生的重要前提。"情"是節(jié)奏表現(xiàn)產(chǎn)生的動(dòng)因。古琴承載著文人雅士的情操,昆曲表演講究以情為先,古典舞根據(jù)形象的塑造則需要通過不同的情緒進(jìn)行體現(xiàn)和表達(dá)。通過以上三點(diǎn)分析,筆者從古典舞與傳統(tǒng)音樂節(jié)奏共性的分析入手,探尋中國古典舞身韻動(dòng)律節(jié)奏的內(nèi)涵。第二章,對中國古典舞身韻動(dòng)律節(jié)奏深入研究,本章基于上一章古典舞與傳統(tǒng)音樂節(jié)奏的共性特點(diǎn),從"起、行、止"切入分析動(dòng)律,探尋古典舞身韻動(dòng)律的節(jié)奏內(nèi)涵。"起、行、止"勁力和氣息的多種運(yùn)用,讓動(dòng)律在起承轉(zhuǎn)合中產(chǎn)生千變?nèi)f化的節(jié)奏。通過對動(dòng)律節(jié)奏深入剖析,發(fā)現(xiàn)身韻動(dòng)律是有自在節(jié)奏的,當(dāng)身體產(chǎn)生松緊、快慢、輕重等勁力對比時(shí),就會呈現(xiàn)動(dòng)律的自在節(jié)奏。在教學(xué)中要明確動(dòng)律的自在節(jié)奏,充分利用自在節(jié)奏強(qiáng)化古典舞身韻的訓(xùn)練核心,突出古典舞的風(fēng)格特色。第三章,對動(dòng)律節(jié)奏的把握應(yīng)從身韻教學(xué)延展到技術(shù)訓(xùn)練和舞臺呈現(xiàn),筆者聚焦于動(dòng)律節(jié)奏與技術(shù)的順勢關(guān)系、動(dòng)律節(jié)奏與音樂選擇的關(guān)系以及動(dòng)律節(jié)奏與動(dòng)作語言的關(guān)系,以此思考動(dòng)律節(jié)奏在教學(xué)中的作用和意義,從節(jié)奏角度進(jìn)行教學(xué),讓學(xué)生具備對節(jié)奏的控制能力和舞臺表演能力,在教學(xué)中為舞臺呈現(xiàn)打下基礎(chǔ)。
[Abstract]:Rhythm is an artistic language and an indispensable expression in the expression of art. Chinese traditional music, Pian and TSE harmony, "one string and one column of thought in China", jade flute flying dark, "scattered into the spring wind full of Luo city", "Kunshan jade broken Phoenix called", "jade pipa", "big Pearl drops jade tray", "the seven strings of silk Tung", "tune clear sound and rhyme". " The description of music shows the artistic charm of rhythm. Rhythm gives the artistic image and language of music, which makes Chinese traditional music unique style aesthetic. Rhythm plays a more important role in dance. It highlights and emphasizes the distinctive national style of classical dance, so how to strengthen the Chinese classical dance rhythms through rhythm. How to understand and grasp the rhythm of rhythm? How to strengthen the artistic expressiveness of Chinese classical dance through the movement of the rhythm, strength and space in the rhythm of the rhythms? The dynamic rhythm of Chinese classical dance is full of rhythm. The concept of rhythmic rhythm of Chinese classical dance is composed of two points: the rhythm of the rhythm is internal and external and the rhythm of the body from inside to outside. Two is the rhythmic rhythm of the movement. It is not from the imitation of music or the "sound", but the natural rhythm of the dynamic law. Rhythm, in the absence of music, can also reflect the artistic effects of momentum, strength, space and other artistic effects, and form action language. This thesis is mainly discussed in three chapters: Chapter 1, the common analysis of the rhythm of Chinese classical dance and traditional music. Dance and music are stage performing arts, rhythm is the common artistic expression of the two. Means. In rhythm, the pursuit of "line" aesthetic, the "lingering" of the guqin, the "word number turn" of Kunqu and the "follow the circle" of the classical dance are the best interpretation of the "line" aesthetic. The two all take "Qi" as the internal technique, the Guqin music needs the tension of the player to promote the extension of the sound of the piano, and the Kunqu needs the actors to pass through. The three combination of various flavours is an important prerequisite for the creation of the rhythm of the classical dance. "Love" is the motive of the rhythm performance. The Guqin carries the sentiments of the literati, the Kunqu Opera takes the emotion as the first, the classical dance should be embodied and expressed through different emotions according to the shape of the image. Through the above three points From the analysis of the commonness of classical dance and traditional music rhythm, the author explores the connotation of the rhythmic rhythm of Chinese classical dance. The second chapter studies the rhythmic rhythm of Chinese classical dance. Based on the common characteristics of the classical dance and traditional music rhythm, this chapter analyzes the rhythm of the classical dance from the "rise, the line and the stop", and explores the classical dance figure. The rhythmic connotation of the rhythm of motion. "Rise, walk, stop" strength and breath in many kinds of use, let the rhythm of the dynamic rhythm produce the ever-changing rhythm. Through the deep analysis of the rhythm of the rhythms, it is found that the rhythms of body rhyme are at a free pace. When the body produces elastic, slow, and heavy forces, the rhythm of the law will be at ease. In the third chapter, the rhythm of dynamic rhythm should be extended from teaching to technical training and stage presentation. The author focuses on the relationship between rhythm and technology and the relationship between rhythm and technology, the relationship between rhythm and choice of music. And the relationship between rhythmic rhythm and action language, in order to think about the role and significance of rhythmic rhythm in teaching, teaching from the angle of rhythm, let the students have the ability to control rhythm and stage performance, and lay a foundation for the stage presentation.

【學(xué)位授予單位】：北京舞蹈學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J722.4

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