本文選題：中山醉龍舞 + 嶺南廣府文化��； 參考：《北京舞蹈學(xué)院學(xué)報》2017年03期

【摘要】：中山"醉龍舞"這一傳統(tǒng)的民間龍舞過去曾盛行不衰,成為人們喜聞樂見的藝術(shù)形式。這一習(xí)俗一直保留至20世紀50年代初,近年來在政府的大力推動下,"醉龍舞"得以恢復(fù)并迅速地蓬勃發(fā)展,2008年6月被收錄于國家級非物質(zhì)文化遺產(chǎn)名錄。舞龍這項活動深受群眾的喜愛,由于各地的地理環(huán)境、氣候條件、語言聲調(diào)、風俗習(xí)慣的差異,舞龍也自然有不同的風格特點,在嶺南廣府文化的影響下,形成了獨一無二的中山"醉龍舞"。它以擬人化的藝術(shù)手段,多變的形式,生動的形象,表現(xiàn)出當?shù)貏趧由罴漓氲膱鼍?又融武術(shù)洪拳、醉拳、雜耍等技藝為一體,展現(xiàn)出人們強烈的求生存、求發(fā)展的內(nèi)在生命力,因而具有巨大的審美力和感染力,更容易激發(fā)起欣賞者的情感共鳴。本文根據(jù)實地田野調(diào)查,通過分析中山"醉龍舞"的形象特征、主體性特征和審美特征,剖析在嶺南廣府文化影響下的中山"醉龍舞"的藝術(shù)表現(xiàn)特征。
[Abstract]:Zhongshan "drunken Dragon Dance", a traditional folk dragon dance, was popular and became a popular art form.This custom remained until the early 1950s. In recent years, thanks to the great efforts of the government, "drunk Dragon Dance" was restored and rapidly developed, and was included in the National Intangible Cultural Heritage list in June 2008.The dragon dance activity is deeply loved by the masses. Due to the differences in geographical environment, climatic conditions, language tone, customs and habits, dragon dance naturally has different styles and characteristics. Under the influence of the Guangfu culture in the south of the five ridges,Formed a unique Zhongshan "drunk dragon dance."It takes anthropomorphic artistic means, changeable forms, vivid images, shows the scene of sacrifice in local working life, and combines martial arts, such as Hong Quan, drunk fist, juggling, etc., and shows people's strong struggle for survival.Seeking the inner vitality of development, it has great aesthetic power and appeal, and it is easier to arouse the emotional resonance of the appreciator.Based on the field investigation, this paper analyzes the image, subjectivity and aesthetic characteristics of Zhongshan's "drunken Dragon Dance", and analyzes the artistic expression characteristics of Zhongshan's "drunken Dragon Dance" under the influence of Lingnan Guangfu culture.
【作者單位】： 深圳大學(xué)師范學(xué)院;
【分類號】：J722.214

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