本文選題：漢代舞蹈　切入點(diǎn)：《水墨游龍》　出處：《北京舞蹈學(xué)院學(xué)報(bào)》2017年04期

【摘要】：漢代是整個(gè)中國(guó)傳統(tǒng)舞蹈的奠基時(shí)期,有著典型的古代舞蹈藝術(shù)的風(fēng)范,具有鮮明的時(shí)代美學(xué)特征,并為之后唐代樂(lè)舞的繁榮發(fā)展奠定了堅(jiān)實(shí)的基礎(chǔ)。因此,編創(chuàng)帶有漢代風(fēng)骨形象的男子中國(guó)古典舞就需要去挖掘漢代舞蹈的歷史印記,追索漢代舞蹈的美學(xué)風(fēng)范,才能塑造出具有濃厚民族特色、具有鮮明漢代氣魄的舞蹈。在現(xiàn)今漢代舞蹈作品創(chuàng)作中,最為常見(jiàn)的就是以女樂(lè)為主題的女性舞蹈題材的作品,經(jīng)過(guò)長(zhǎng)時(shí)間的積累和發(fā)展,可以說(shuō)漢代女性舞蹈的語(yǔ)言和語(yǔ)匯有了一定積淀,然而漢代男子舞蹈資源的挖掘、整理、提煉以及開(kāi)發(fā)卻顯得捉襟見(jiàn)肘。本文以《水墨游龍》這一漢代男性形象的編創(chuàng)研究型舞蹈作品作為案例,從漢代男子舞蹈形象的塑造入手,分析其形象塑造中對(duì)舞姿轉(zhuǎn)換、調(diào)度流動(dòng)的特殊選擇,最后探討其形象塑造時(shí)的再現(xiàn)到表現(xiàn)的意象化表達(dá),從而論證《水墨游龍》是將漢代舞蹈放在社會(huì)文化母體系統(tǒng)之中進(jìn)行研究和編創(chuàng)的作品。
[Abstract]:The Han Dynasty was the foundation period of the whole Chinese traditional dance. It had the typical style of ancient dance art and had the distinct aesthetic characteristics of the times, and laid a solid foundation for the prosperity and development of music and dance in the Tang Dynasty. It is necessary to dig out the historical imprint of the Han Dynasty dance and to trace the aesthetic style of the Han Dynasty dance in order to create the Chinese classical dance with strong national characteristics. Dance with distinctive style of Han Dynasty. In the creation of dance works of the Han Dynasty, the most common one is the female dance theme, which has accumulated and developed over a long period of time. It can be said that the language and vocabulary of female dance in the Han Dynasty have accumulated to a certain extent. However, the men's dance resources of the Han Dynasty have been excavated and sorted out. In this paper, a case study of the male image of the Han Dynasty is given to analyze the transformation of the image of the male dance in the Han Dynasty, starting with the creation of the male dance image of the Han Dynasty, and analyzing the transformation of the dance posture in the shaping of the male dance image of the Han Dynasty. The special choice of scheduling flow is discussed in the end, the image expression from reappearance to expression is discussed, and it is proved that the dance of Han Dynasty is studied and created by putting the dance of Han Dynasty in the system of social culture.
【作者單位】： 北京舞蹈學(xué)院中國(guó)古典舞系;
【分類(lèi)號(hào)】：J704

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