本文選題：改編理念　切入點(diǎn)：改編實(shí)踐　出處：《北京舞蹈學(xué)院》2016年碩士論文　論文類型：學(xué)位論文

【摘要】：本文分為三個(gè)主體部分,分別從改編的理念、改編的實(shí)踐以及改編的意義三個(gè)方面來分析舞劇《夕照》對(duì)經(jīng)典戲曲《白蛇傳》的改編,并以小見大,引出舞劇對(duì)傳統(tǒng)經(jīng)典戲曲的改編可能面臨的問題,機(jī)遇和挑戰(zhàn)。第一個(gè)部分主要闡述并分析了《夕照》尊重經(jīng)典與探索求新并行的改編理念。即是從內(nèi)容上,在繼承經(jīng)典精神內(nèi)涵的基礎(chǔ)上,提升出時(shí)代的主題和精神,從而賦予舞劇深厚的文化底蘊(yùn)與深刻的現(xiàn)實(shí)意義。從表現(xiàn)形式上,在改編理念的指引下,既深入于戲曲藝術(shù)的精髓之中,又借反哺的養(yǎng)分發(fā)展舞蹈自身,借鑒與創(chuàng)造并重,尊重與創(chuàng)新并持,在探索戲曲經(jīng)典與舞劇形式最佳契合點(diǎn)的同時(shí),不斷開拓舞劇自身新的表現(xiàn)形式。最終通過從內(nèi)容到形式對(duì)經(jīng)典戲曲的尊重和再創(chuàng)造,使其自身的藝術(shù)價(jià)值得到全面的提升。此外還在此改編理念的基礎(chǔ)上確立了《夕照》對(duì)經(jīng)典戲曲改編所持有的立場和原則,即:堅(jiān)持“不戲說”也“不亂說”,為《夕照》改編經(jīng)典戲曲的基本點(diǎn);堅(jiān)持在尊重經(jīng)典的基礎(chǔ)上去探索求新,成功地創(chuàng)作一部舞劇,為《夕照》追求的目標(biāo)。創(chuàng)作者將此理念貫穿于整個(gè)舞劇的創(chuàng)作全程,既是創(chuàng)作者尊重經(jīng)典的具體承諾,也是創(chuàng)作者探索求新的具體實(shí)踐,二者是相向并行的。第二部分主要從文本結(jié)構(gòu)的重塑、動(dòng)作語言的重構(gòu)、人物形象的塑造和群舞的輔助功能四個(gè)方面,闡述并分析《夕照》由戲曲向舞劇可行的轉(zhuǎn)化方式和具體的實(shí)踐方法。總結(jié)出舞劇對(duì)經(jīng)典戲曲的轉(zhuǎn)化應(yīng)當(dāng)在端正的改編理念的引領(lǐng)下,遵循戲劇的要素,在舞劇思維的組織下,借鑒可以為舞劇所用的,改造與舞劇所不相適應(yīng)的,創(chuàng)造使舞劇更加豐富的。具體來說,《夕照》在舞劇結(jié)構(gòu)上,從縱向上將故事情節(jié)的邏輯架構(gòu)重新選擇和組織,從橫向上將表現(xiàn)方式由戲曲的敘述層面向舞劇的抒情層面轉(zhuǎn)化,以一種更適合于舞劇的表現(xiàn)特性且不削弱戲劇性的方式完成文本結(jié)構(gòu)的重塑;在動(dòng)作語言的重構(gòu)上,以發(fā)揮動(dòng)作語言對(duì)舞劇的敘事和表達(dá)功能為目的,以中國古典舞為審美原則,吸收戲曲中可為舞所用的形態(tài)或動(dòng)作,以增強(qiáng)舞劇語言的風(fēng)格性和表意性。同時(shí)通過對(duì)借鑒動(dòng)作的創(chuàng)新,突破舞蹈語言的固定模式、拓展舞劇語言的可能空間,使其最終凝煉成集風(fēng)格性、表意性、抒情性于一身并為舞劇敘述情節(jié)、刻畫人物、表達(dá)情感所用的舞蹈語言;在人物形象的塑造上,從外部形象上,借鑒戲曲行當(dāng)?shù)某淌交攸c(diǎn),在形態(tài)和律動(dòng)上為人物形象的塑造找到清晰的對(duì)位和個(gè)性化的表現(xiàn)形式。從人物內(nèi)心情感上,在堅(jiān)持戲曲人物主體品格的基礎(chǔ)上進(jìn)一步體察人物的內(nèi)在感受,塑造出有血有肉的舞劇人物形象。此外,充分發(fā)揮群舞對(duì)塑造人物、敘述情節(jié)的輔助功能,調(diào)動(dòng)一切可能的舞臺(tái)因素去完成藝術(shù)形式轉(zhuǎn)換的同時(shí),樹立起舞劇自身的藝術(shù)魅力。第三個(gè)部分主要闡述《夕照》對(duì)經(jīng)典戲曲的改編意義。將“為觀眾而說,為經(jīng)典而立”的改編意義作為創(chuàng)作者的己任,從目的上看,《夕照》將觀眾的審美需求作為舞劇確立改編理念以及一切創(chuàng)作實(shí)踐的關(guān)照點(diǎn),讓創(chuàng)作者的審美追求和觀眾的審美需求產(chǎn)生共鳴關(guān)系。從意義上看,將傳承民族文化,促進(jìn)藝術(shù)繁榮作為改編的價(jià)值關(guān)照點(diǎn),通過強(qiáng)調(diào)舞劇創(chuàng)作過程中在改變理念、表現(xiàn)形式和動(dòng)作語言風(fēng)格上對(duì)經(jīng)典戲曲藝術(shù)的借鑒,強(qiáng)調(diào)在尊重傳統(tǒng)文化基礎(chǔ)上的創(chuàng)新,以不同于戲曲的舞劇藝術(shù)形式改編傳播經(jīng)典,傳承文化。
[Abstract]:This paper is divided into three parts, respectively from the adaptation of the concept, the practice of the adaptation and the adaptation of the significance of the three aspects to analyze the classic opera ballet < > > < snake adaptation, and adaptation of traditional dance leads the child is father of the man, the classic opera may face problems, opportunities and challenges. The first part mainly the < > describes and analyzes the classic and explore innovative respect parallel concept. That is adapted from the content, based on inheriting the classic spirit connotation, promote the theme of the times and the spirit of giving ballet profound cultural connotation and profound practical significance. From the form of expression, in the adaptation under the guidance of the concept in essence, both in-depth opera art, and by the development of the dance of nutrient feeding, both reference and creation, respect and innovation and to explore, in the traditional classical dance form with the best fit point at the same time, not Opening up its new ballet performance. Finally through the respect from the content to the form of classical opera and re creation, make its artistic value improve. Based on the idea of adaptation also established the position and principle of < >, the classic opera adaptation holds that: adhere to the "no joking" and "nonsense", as the basic point of the adaptation of the classic opera < >; persist in respect of the classic to explore innovation, successfully created a ballet, the pursuit of "sunset > goal. The creator of this idea throughout the creation of dance course, specific commitment to respect the classic both a creator. Is also the Creator of practice and exploration of innovation, the two are opposite in parallel. The second part mainly from the remodeling of the structure of the text, the reconstruction of the action language, four aspects of the characters and the dance of auxiliary functions. < > and analysis by way of transforming to sunset Opera Ballet feasible and practical method. Summed up the transformation of the classical opera ballet should be in the correct concept of adaptation under the guidance, follow the elements of drama, drama in the thinking of the organization, reference can be used for ballet, ballet and the phase transformation to adapt, create more ballet. Specifically, < > in the structure of drama on the sunset, to choose from the logical structure longitudinal story and organization transformation from horizontal admiral performance by the opera narrative Lyric dance oriented level, in a more suitable for ballet performance characteristics and does not weaken a dramatic way to reshape the structure of the text; in the reconstruction of the action language, to play the action language to ballet narrative function and expression for the purpose, to Chinese classical dance aesthetic principle, opera dance can be absorbed In the form of action, in order to enhance the ballet style of language and meaning. At the same time by reference to the action of innovation, break through the fixed mode of dance language, dance language may expand the space, eventually condensed into style, expressive, lyrical and dance in a narrative, characterization the emotional expression, the language of dance; image of the characters, from the external image, from the stylized feature drama, in the form and rhythm of shape characters found form clear counterpoint and personalized. From the character of inner feelings, inner feelings of characters based on further understanding the main character of the opera characters, creating drama characters true to life. In addition, give full play to group characters, narrative plot of the auxiliary function, to mobilize all possible factors to complete the stage art Operation mode conversion at the same time, to establish their own dance artistic charm. The third part mainly elaborates the significance of the adaptation of < > classic opera. "For the audience, as a classic rock" adaptation significance as the creator of the mission, from the objective perspective, "sunset > audience's aesthetic needs as Ballet establish the concept and practice of creative adaptation of all care, let the relationship resonate with the aesthetic needs of the aesthetic pursuit of the creator and the audience. From the point of view, the national cultural heritage, promote the prosperity of art as the value of moral adaptation, by emphasizing the creative process of the ballet in the change idea, form and language style of classic action opera art for reference, emphasis on respect for innovation based on traditional culture, which is different from the traditional opera art form drama adaptation communication classic, cultural heritage.

【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】：2016
【分類號(hào)】：J723

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