本文選題：情感刺激物 + 體驗　； 參考：《北京舞蹈學院學報》2005年01期

【摘要】：舞蹈表演需要情感體驗,舞蹈演員通過體驗生活,體驗與自己相近的人的愿望和心情,能從不 自主的手之舞之,達到自由地、有目的地運用這些"手之舞之",這是由內(nèi)而外的心靈之舞。舞蹈演員的情感 體驗并不是從情感到情感的純粹情感之物,而應當是在情感的一系列體驗中,獲得身體表演的獨特視覺,這種 包含有人體四肢運動的情感體驗是"心"與"物"的統(tǒng)一體。舞蹈演員通過情感體驗獲得的某一情感指向,應 該成為表演的動機。當演員心理的情感因素與最單純的動作或最復雜的動作組合融合在一起的時候,就產(chǎn)生了 一種新的、非常特別的東西--表演欲態(tài)。一般來說,當一種表演欲態(tài)與另一種表演欲態(tài)連貫起來的時候,就 構(gòu)成了舞蹈表演的特殊的韻味
[Abstract]:Dance performance requires emotional experience. Dancers can experience life, the wishes and moods of people who are close to themselves, and can dance their hands in an involuntary way to achieve freedom. Purposefully use these "hand dances", which are inner and outer spiritual dances. The dancer's emotional experience is not a purely emotional thing from emotion to emotion, but rather a unique vision of physical performance in a series of emotional experiences. This emotional experience, which includes the movement of human limbs, is the unity of mind and object. An emotional direction acquired by a dancer through emotional experience should be a motive for acting. When the emotional factors of the actor's psychology are combined with the simplest action or the most complicated action, a new, very special thing is created, that is, the performance desire. Generally speaking, when one kind of performance desire is connected with another kind of performance desire, it constitutes the special charm of dance performance.
【作者單位】： 北京舞蹈學院舞蹈學系
【分類號】：J712

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