本文關(guān)鍵詞： 洪湖赤衛(wèi)隊(duì) 舞蹈詩 經(jīng)典題材 創(chuàng)作　出處：《北京舞蹈學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：“對(duì)舞蹈作品的題材,有廣義和狹義兩種解釋。廣義的題材泛指舞蹈作品表現(xiàn)的生活范圍,例如現(xiàn)代題材或歷史題材、愛情題材或革命題材等;狹義的題材指作品中具體描寫的生活現(xiàn)象�！�1舞蹈詩《我們從洪湖走來》就是這樣一部以紅色經(jīng)典“洪湖赤衛(wèi)隊(duì)”為母體,參照歷史真實(shí)為題材的作品。同時(shí),這一題材在其他藝術(shù)表現(xiàn)形式中已有成功范例,其中的人物形象、情景也深入人心,也可謂之經(jīng)典題材。這一題材最初是以歌劇的形式搬上舞臺(tái),之后改編成電影、京劇唱段、大型電視連續(xù)劇甚至交響樂章等,卻唯獨(dú)沒有一部以舞劇或舞蹈詩形式來表現(xiàn)的作品。所以,《我們從洪湖走來》是我對(duì)這一題材在表現(xiàn)形式(舞蹈詩)上所進(jìn)行的一種嘗試。然而,任何一種創(chuàng)作形式都只有在完成創(chuàng)作的最后一刻,才能形成它所謂的形式,面對(duì)真實(shí)的、歷史的、革命的經(jīng)典題材,因其深刻的思想性、既定的故事情節(jié)與經(jīng)典的人物形象,一般都會(huì)選擇以塑造人物形象或推進(jìn)故事情節(jié)(矛盾沖突)進(jìn)行結(jié)構(gòu)創(chuàng)作。但我卻想用舞蹈詩的形式,即在不虛化原有典型人物的情況下,淡化其矛盾沖突(不推進(jìn)故事情節(jié)),轉(zhuǎn)以情景推進(jìn)的方式對(duì)這一題材進(jìn)行創(chuàng)作體驗(yàn),即“老題材,新做法”,努力朝著舞蹈詩的方向去進(jìn)行實(shí)踐,力求在把握經(jīng)典題材深度的同時(shí),又不失其再當(dāng)下的廣度,充分展示這一題材的舞性、詩性。所以,本論文便是根據(jù)自己創(chuàng)作舞蹈詩《我們從洪湖走來》過程中的實(shí)際情況,從選擇題材、結(jié)構(gòu)題材、表現(xiàn)題材的角度分析我在創(chuàng)作中對(duì)此題材的把握,論述我對(duì)經(jīng)典題材的選擇與創(chuàng)作體驗(yàn)。扎根經(jīng)典,讓舞劇(舞蹈詩)創(chuàng)作的立足點(diǎn)更加深厚牢固,同時(shí)又借助舞蹈的魅力,讓經(jīng)典煥發(fā)新的生機(jī)。
[Abstract]:"there are two interpretations of the subject matter of dance works: broad sense and narrow sense. Broad themes refer to the life scope of dance works, such as modern theme or historical theme, love theme or revolutionary theme, etc. The narrow theme refers to the specific life phenomenon described in the works. "1 the dance poem" We come from Honghu "is such a work in which the Red Lake Red Guard is the mother body and historical reality is the subject matter. At the same time, This theme has already been a successful example in other artistic forms, in which the characters and scenes are deeply rooted in the hearts of the people and can be described as classic themes. This theme was originally brought on stage in the form of opera, then adapted into a film, a Beijing opera choir. Large TV series, even symphonies, But not a single one in the form of a dance play or a dance poem. So, "We came from Honghu" was my attempt at this subject in the form of dance poetry. However, Any form of creation can only form its so-called form at the last moment when it is completed, facing the real, historical, revolutionary classic subject matter, because of its profound ideological content, established story plot and classic character image. I would generally choose to create a structure by portraying characters or advancing the story (conflict), but I would like to use the form of dance poetry, that is, in the case of not being a typical character. Desalinating its contradictions and conflicts (not advancing the story plot, turning to the creative experience of this subject in a situational way, that is, "old themes, new practices", and striving to practice in the direction of dance poems, I strive to grasp the depth of the classical theme at the same time, without losing its current breadth, and fully demonstrate the dance and poetry of this theme. Therefore, this paper is based on the actual situation in the process of writing dance poems "We came from Honghu". From the angle of choosing theme, structure theme and performance theme, I analyze my grasp of this theme in my creation, and expound my choice and creative experience of classical theme, take root in classic, let dance play (dance poem) create the foothold more deeply and firmly, At the same time, with the charm of dance, let the classic radiate new vitality.
【學(xué)位授予單位】：北京舞蹈學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J722.7

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