發(fā)布時間：2018-04-23 06:40

  本文選題：舞蹈語言 + 符號　； 參考：《深圳大學(xué)》2017年碩士論文

【摘要】：舞蹈語言的特質(zhì)研究是有關(guān)舞蹈本體的研究。舞蹈語言是將人類心靈深處與生俱來的情感狀態(tài)、文化環(huán)境影響下的思維方式、認(rèn)知方式、生存功利性以及信仰、愿望、生存狀態(tài)等,通過舞蹈肢體語言或者輔助語言的外化形式進(jìn)行表達(dá)。舞蹈語言本身就是極具符號象征意味的符號形態(tài),與文字語言一樣能夠表達(dá)主觀的思想與意義,更能超越性的表達(dá)文字無法言狀的情感、思維狀態(tài)。本研究是跨學(xué)科的理論性研究,將成熟的符號學(xué)研究體系帶入舞蹈語言的研究當(dāng)中,目的是擴(kuò)充舞蹈理論研究的方法、尋找舞蹈之根。使得舞蹈理論研究更加有理有據(jù),通過舞蹈肢體的現(xiàn)象尋找到其文化內(nèi)涵、情感表達(dá)之核心。本研究分為四個部分:第一部分,緒論。綜合敘述本研究的選題緣由、目的意義以及研究的現(xiàn)狀,站在巨人的肩膀上客觀地看待舞蹈的演變進(jìn)程;第二部分,符號學(xué)理論綜述以及舞蹈語言符號的解讀。著重從理論的角度闡釋舞蹈與符號之間的關(guān)系、身體語言符號的研究向度、符號結(jié)構(gòu)、符號特征以及延伸媒介的輔助作用。同時分析舞蹈語言在文化價(jià)值系統(tǒng)內(nèi)所占有的文化形式以及生命形式;第三部分,闡述舞蹈語言所具有的符號性功能以及意義,分析的對于舞蹈形態(tài)、規(guī)則的影響。第四部分,主要從舞蹈“元語言”符號入手,著重?cái)⑹鑫璧浮霸Z言”是將整個生命狀態(tài)融入舞蹈表達(dá),其生命形式、藝術(shù)形式承載了最為完整的真實(shí)情感與認(rèn)知方式。舞蹈語言從發(fā)生之初由功能性較強(qiáng)“語言符號”經(jīng)過社會的變革、文化的變遷,不斷抽象化、理性化進(jìn)而升華成為“審美符號”。由于各個歷史時期的人文因素的巨變,導(dǎo)致了藝術(shù)面臨危機(jī)甚至斷滅,但是在文明斷滅之際,唯有藝術(shù)精神得到潛伏性的延續(xù)與復(fù)活。而這種藝術(shù)精神正是“元語言”的“母體”,也是舞蹈語言最為核心的內(nèi)涵。我們從中可以總結(jié)出,所有的外在形式都只是內(nèi)核的表面形態(tài),舞蹈藝術(shù)追尋的理想應(yīng)當(dāng)是反映人類最為深刻的內(nèi)心世界的藝術(shù)精神,只有這種精神的存在,才能使舞蹈具有靈魂。本研究嘗試從符號學(xué)研究的角度,研究舞蹈的形態(tài)、發(fā)生及其文化。運(yùn)用科學(xué)方法論從另一個角度重新探索舞蹈的功能、意義、文化。緊密貼合舞蹈本體,在理論上融合各家之所長進(jìn)一步解釋舞蹈文化現(xiàn)象問題。透過各種文化符號現(xiàn)象,解讀它背后所蘊(yùn)含的深層含義,把人類舞蹈文化的意義凸現(xiàn)出來。動態(tài)地再現(xiàn)“人所創(chuàng)造的舞蹈”這一矛盾統(tǒng)一體的多樣性、豐富性、創(chuàng)造性;把舞蹈肢體自由和哲學(xué)的自由思想還原為人的自我創(chuàng)造活動,通過舞蹈語言的符號化過程,超越現(xiàn)實(shí)、歷史的局限,把舞蹈演化的歷史看作是文化的歷史,在人所構(gòu)建的意義世界中尋求舞蹈的生存樣態(tài)。這對于理解舞蹈的“生命形式”,指明舞蹈的“獨(dú)特之處”,提升舞蹈的“認(rèn)知境界”,從而尋找打破現(xiàn)代某些僅追求“純形式”“玩藝術(shù)”“靠技巧”出彩的審美取向。具有重要的理論意義和實(shí)踐創(chuàng)新意義。
[Abstract]:The characteristic study of dance language is the study of the noumenon of dance. Dance language is the emotional state of the human heart, the way of thinking under the influence of cultural environment, the way of cognition, the utilitarianism of survival, the belief, the desire, the state of existence, etc., and the expression of the dance in the form of the dance body language or the external language of the auxiliary language. Language itself is a symbolic form of symbolic meaning, which can express subjective thoughts and meanings as well as word language, and more transcendent to express the unspeakable emotion and thinking state of words. This study is the theoretical study of interdisciplinary, and the mature semiotics research system is brought into the study of dance language. The purpose is to The research method of dance theory is expanded to find the root of dance. It makes the research of dance theory more reasonable, through the phenomenon of dancing limbs to find its cultural connotation and the core of emotional expression. This study is divided into four parts: the first part, the introduction. It is a comprehensive description of the reasons for the study, the purpose and the present situation of the study. The evolution process of dance is viewed objectively on the man's shoulder; the second part, the summary of the theory of semiotics and the interpretation of the language symbols of the dance, focuses on the relationship between dance and symbol from a theoretical point of view, the research direction of the body language symbol, the symbol structure, the symbolic feature and the auxiliary function of the extension medium. The cultural form and the form of life in the cultural value system; the third part, the symbolic function and significance of the dance language, the analysis of the influence of the dance form and the rules. The fourth part, starting with the symbol of the dance "metalanguage", recounts the "metalanguage" of the dance to melt the whole state of life. Into the dance expression, the form of life and the art form carry the most complete real emotion and cognitive way. From the beginning of the dance language, the dance language was transformed from the functional "language symbol" through the social change, the cultural change, the continuous abstraction, the rationalization and the sublimation to become "the aesthetic symbol". The great changes have led to the crisis and even disintegration of the art, but the spirit of art is only a latent continuity and resurrection when the civilization is disconnected. This artistic spirit is the "matrix" of the "metalanguage" and the core of the dance language. From this we can conclude that all the external forms are only the core of the core. The ideal of choreography should be the artistic spirit that reflects the most profound inner world of human beings. Only the existence of this spirit can make the dance have the soul. This study tries to study the form, the occurrence and the culture of the dance from the perspective of semiotics. The function, meaning and culture are closely related to the dance noumenon. In theory, it combines the director of each family to further explain the problem of dance culture. Through various cultural symbols, the deep meaning behind it is interpreted and the meaning of the human dance culture is highlighted. The contradictory unity of "the dance created by man" is reproduced dynamically. The diversity, richness and creativity of the dance, the freedom of the dance body and the freedom of philosophy to the self creation activities, through the symbolic process of the dance language, transcending the reality and the limitation of history, taking the history of the dance as the history of culture, and seeking the living state of the dance in the meaning world of human construction. Understanding the "life form" of dance, pointing out the "unique features" of the dance, and improving the "cognitive realm" of the dance, and looking for the aesthetic orientation of breaking modern "pure form", "playing art" and "relying on skill", has important theoretical and practical significance.

【學(xué)位授予單位】：深圳大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J705

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