本文選題：張建民 + 吳蓓��； 參考：《北京舞蹈學(xué)院》2017年碩士論文

【摘要】：上世紀(jì)80年代,北京舞蹈學(xué)院在開辦本科教育專業(yè)后,于1985年正式招收首屆編導(dǎo)專業(yè)本科班。該班多名學(xué)生從90年代起就在中國(guó)舞劇創(chuàng)作中發(fā)揮著積極作用,有些在20余年的實(shí)踐中已成為這一領(lǐng)域的棟梁之才。如果說該班畢業(yè)生陳維亞的早期作品較多受到章民新、孫天路二位老師的影響;張守和早期作品是肖蘇華老師“交響”編舞理念的發(fā)揚(yáng),那么本文所探討的編導(dǎo)之一張建民,應(yīng)屬結(jié)合眾家優(yōu)勢(shì)的踐行者,其“交響編舞”的“詩(shī)劇”主張與雙人舞教學(xué)的創(chuàng)新凝結(jié)在中國(guó)當(dāng)代舞劇的創(chuàng)作與教學(xué)中。本文研究的第二位編導(dǎo)是與張建民結(jié)為伉儷的吳蓓。吳蓓于1993年考入北京舞蹈學(xué)院編導(dǎo)系,后留校任教。在吳蓓近幾年的舞劇創(chuàng)作中可見其強(qiáng)烈的“戲劇性”主張與對(duì)人物“心理描寫”的執(zhí)著。本課題旨在對(duì)張建民、吳蓓的8部作品進(jìn)行形態(tài)分析,其中以兩人合創(chuàng)的3部舞劇為扭結(jié),在對(duì)二者舞劇特質(zhì)與追求的歸納中,闡明兩人對(duì)中國(guó)舞劇創(chuàng)作的思考,并進(jìn)一步探討學(xué)院派編創(chuàng)教學(xué)中“舞”與“劇”的關(guān)系,從而更好地認(rèn)識(shí)舞劇創(chuàng)作本體意義之所在。在對(duì)學(xué)院派舞劇的創(chuàng)作教學(xué)的思考中,不應(yīng)僅為一般性地解決如何用舞蹈敘事,抑或處理好舞蹈本體的呈現(xiàn)與劇情推進(jìn)之間的關(guān)系的問題,更在于如何使“技法”不露痕跡卻又可讓人感知的深層運(yùn)用與理解。同時(shí),作為舞劇編導(dǎo)家個(gè)人的研究,他們兩人的追求也可為中國(guó)舞劇創(chuàng)作提供一定的啟示。
[Abstract]:In the 1980's, the Beijing Dance Academy began its undergraduate education program and formally enrolled the first undergraduate program in 1985. Many students in this class have played an active role in the creation of Chinese dance dramas since the 1990s, some of which have become the pillars of this field in more than 20 years of practice. If it is said that the early works of Chen Wei, a graduate of this class, were mostly influenced by Zhang Minxin and Sun Tianlu, and that Zhang Shouhe's early works were the development of Xiao Suhua's "symphonic" choreography idea, then one of the choreographers discussed in this paper is Zhang Jianmin. It should belong to the practitioners of combining the advantages of many families, and its "symphonic choreography" poetic drama "and the innovation of the teaching of double dance should be condensed in the creation and teaching of Chinese contemporary dance dramas. The second author of this study is Wu Bei, who is married to Zhang Jianmin. Wu Bei was admitted to the Department of choreography at the Beijing Dance Academy in 1993, and stayed for teaching. In recent years, Wu Bei's drama creation shows his strong "dramatic" proposition and his persistence in the character's "psychological description". The purpose of this paper is to analyze the form of 8 works of Zhang Jianmin and Wu Bei, in which the three dance plays jointly created by the two people are the kink. In the induction of the characteristics and pursuit of the two dance plays, the author expounds their thinking on the creation of Chinese dance dramas. Furthermore, the relationship between "dance" and "drama" in the creation and teaching of academic schools is discussed, so as to better understand the meaning of the Noumenon of dance drama creation. In thinking about the creation and teaching of academic-school dance plays, we should not only solve the problem of how to use dance narration, or how to deal with the relationship between the presentation of dance noumenon and the promotion of the plot. It also lies in how to make the technique invisible but can be used and understood in a perceptible way. At the same time, as a choreographer's personal research, their pursuit can also provide some inspiration for the creation of Chinese dance dramas.
【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】：2017
【分類號(hào)】：J723

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