本文選題：研究型創(chuàng)作 + 儺舞��； 參考：《北京舞蹈學院》2015年碩士論文

【摘要】：“研究型創(chuàng)作劇目”可以說是對傳統(tǒng)藝術(shù)素材進行突出主體性的一種新認識、新解讀的舞臺化的創(chuàng)作實踐,其作品創(chuàng)作是以研究為目的,以理論與實踐并重的思路為創(chuàng)作基點,追求作品完成的同時完成創(chuàng)作理念的凝結(jié),創(chuàng)作方法的總結(jié)。研究作品《方相氏.儺》正是在尊重和理解儺文化的基礎(chǔ)上,筆者對其素材(儀式氛圍動作素材)進行了加工提純,并遵循自己的解讀賦予其具有時代審美意味的藝術(shù)性表達。這一研究型創(chuàng)作劇目的編創(chuàng)過程也是發(fā)現(xiàn)和尋覓的過程。這一過程,讓筆者進一步認識到,編導在編創(chuàng)的過程中只有對素材背后的文化做到盡可能的關(guān)照,找到素材的根源與出處,所運用的素材才會表達的更清晰和準確,才會游刃有余地將最恰當?shù)膭幼鞣诺阶髌纷钋‘數(shù)奈恢�。“研究型�?chuàng)作劇目”最早是郭磊教授在北京舞蹈學院2013年冬季演出季推出的作品《儺.面》中提出來的。這一提法可以說是對北京舞蹈學院“教學劇目創(chuàng)作”傳統(tǒng)的繼承與發(fā)展,它源于所謂的“學院派”,形成于以學院派三點一線式傳承民族民間舞蹈文化的體系之中,即“田野式采風(民間)——元素教學(課堂)——研究型創(chuàng)作(舞臺)”。在傳統(tǒng)教學劇目創(chuàng)作的基礎(chǔ)上,加大研究能力的鍛煉,是提高一名編導或教師綜合能力的重要過程。正如筆者以《方相氏.儺》為例的研究型創(chuàng)作過程中,就多次深入江西南豐縣石郵村儺舞之鄉(xiāng)采風,并通過采訪藝人、文獻研究、歷史考證、資料收集等方面的學習與探究,得知石郵村儺舞可追溯到《周禮》中的“方相氏”“宮廷儺儀式中驅(qū)鬼的官吏。最早的文獻對方相氏的描述是“掌蒙熊皮、黃金四目、玄衣朱裳、執(zhí)戈揚盾”,以大儺的儀式為國家驅(qū)邪逐疫。隨著歷史的行進,朝代的更替,方相氏的功能逐漸深入民間演變成了為百姓祈福消災(zāi)的民間儺祭儀式。筆者在深入石郵村的幾次采風中被當?shù)氐貪庥舻拿耖g傳統(tǒng)風俗深深地感染和打動。正是方相氏這一介于人與神之間的玄妙關(guān)系,激發(fā)了筆者的好奇心與創(chuàng)作欲。在《方相氏.儺》的研創(chuàng)過程中,筆者對儺舞儀式中的儺神形象特征及其文化形成背景進行了較為詳盡的研究與分析,在尊重文化成因與傳統(tǒng)審美的前提下,提取元素動作并進行了新的身體詮釋。在不斷返回儺文化故里反芻式采風學習和體驗感受中,筆者遵循以深厚文化為基礎(chǔ)的藝術(shù)創(chuàng)新,自覺地進行著自我否定和超越,目的是通過舞臺抽絲剝繭出民間儺舞透射出的文化內(nèi)核,并以現(xiàn)代語境的傳承方式向觀眾傳播,從而通過儺舞文化啟示對美好生活的向往。此次具體創(chuàng)作中,筆者特別關(guān)注了古老與現(xiàn)代的深度結(jié)合,賦予作品更多神秘色彩,突出某種不可言說的傳統(tǒng)與現(xiàn)代深刻聯(lián)系。
[Abstract]:It can be said that "Research-based creation Drama" is a new understanding of traditional artistic materials, a new interpretation of the stage of creative practice, its work is designed for the purpose of research, with both theory and practice as the basis of the idea of creation. Pursue the completion of the work at the same time complete the condensation of creative ideas, the summary of creative methods. Research works. On the basis of respecting and understanding Nuo culture, the author processes and purifies its material (ceremonial atmosphere action material) and gives it artistic expression with the aesthetic meaning of the times according to its own interpretation. The process of creation of this research production repertoire is also a process of discovery and search. In this process, the author further realized that in the process of compiling and creating, only by taking care of the culture behind the material as much as possible, and finding the source and source of the material, can the material be expressed more clearly and accurately. In order to be able to easily put the most appropriate action in the most appropriate position of the work. R & D Drama was first published by Professor Guo Lei during the 2013 winter performance season of Beijing Dance Academy. Put out in the face. This formulation can be said to be the inheritance and development of the tradition of "teaching repertoire creation" of the Beijing Dance Academy, which originated from the so-called "academic school" and formed in the system of inheriting the folk dance culture of the nation with the school's three-point and one-line style. That is, field-style mining (folk-element teaching (classroom)-research creation (stage). " On the basis of the creation of traditional teaching repertoire, it is an important process to enhance the comprehensive ability of an editor or a teacher to strengthen the training of research ability. As the author of the < square phase. During the research creative process of Nuo > for example, many times went deep into the countryside of Nuo Dance in Shiyou Village, Nanfeng County, Jiangxi Province, and through interviewing artists, literature research, historical textual research, data collection and other aspects of the study and exploration, It was learned that Nuo dance of Shiyou Village can be traced back to the officials who exorcised ghosts in the ceremony of "Fang Xiang's family" in Zhou Li. The earliest description of Xiangshi in the literature is that "the palm is covered with bear skin, the gold is four eyes, the Xuanyi Zhu Chang, holds the Ge Yang shield", with the great exorcism ritual for the country exorcises evil and banishes the epidemic. With the development of history and the replacement of the dynasty, the function of Fang Xiangshi gradually evolved into a folk exorcism ceremony. The author was deeply affected and moved by the local folk customs in several times of mining in Shiyou Village. It is Fang Xiangshi, a mysterious relationship between man and God, which inspires the author's curiosity and creative desire. In the square phase. In the process of research and creation of Nuo >, the author makes a detailed research and analysis on the image characteristics of Nuo God and its cultural background in the Nuo dance ceremony, and on the premise of respecting the causes of culture and traditional aesthetics, The element action is extracted and a new body interpretation is carried out. In constantly returning to the hometown of Nuo culture to learn and experience the ruminant style, the author follows the artistic innovation based on deep culture and consciously negates and transcends himself. The purpose is to reveal the cultural core of folk Nuo dance through the stage, and spread it to the audience in the way of modern context, so as to inspire the yearning for a better life through the cultural enlightenment of Nuo dance. In this creation, the author pays special attention to the deep combination of the ancient and the modern, endows the works with more mysterious colors, and highlights the profound connection between some unspeakable tradition and the modern.
【學位授予單位】：北京舞蹈學院
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J705

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