中國古典舞的節(jié)奏問題
發(fā)布時間：2018-08-23 08:59
【摘要】：沐浴著西化影響而成長起來的"中國古典舞",其與所繼承之母體如戲曲、武術(shù)之間在"時間因素"上的斷裂感是較為明顯的。就是這個"斷裂感"讓我們在佩服中國古典舞所取得的在"空間因素"上的成就滿足之余仍覺得有不夠盡興之處,即其在節(jié)奏因素表現(xiàn)上的平庸與乏善可陳。消除這種平庸,使其提升,可以通過兩個渠道:一個是舞臺,一個是課堂。但理想的節(jié)奏形式,并不會憑空而至。因應著中國戲曲和武術(shù)而發(fā)展起來的中國古典舞,重新思考戲曲和武術(shù)的獨特節(jié)奏方式,應該會獲得一定的靈感。其次,凡是中國傳統(tǒng)的舞動經(jīng)驗中的有效節(jié)奏成分,譬如民間舞中,積淀著大量的具有"唯一性"和"獨特性"的節(jié)奏型,都是可以汲取的。再次,凡是存在于中國文化語境中的任何節(jié)奏源,比如,中國古典音樂中的一些特有樂器樂曲(如古琴曲),中國畫中的留白方法,太極和氣功靠呼吸形成的速律、中國各朝的各類傳統(tǒng)建筑所體現(xiàn)出來的節(jié)律感,都應該成為可利用的資本。
[Abstract]:"Chinese Classical Dance", which has grown up under the influence of Westernization, has a more obvious sense of break in "time factor" with its inherited mother style such as opera and martial arts. It is this sense of breakage that makes us admire the achievements of Chinese classical dance in "space factor", and still feel that there is not enough fun, that is, its performance of rhythm factor mediocrity and lack of excellence. Eliminating this mediocrity and upgrading it can be done through two channels: one is the stage and the other is the classroom. But the ideal form of rhythm does not come out of nowhere. In response to the development of Chinese opera and martial arts, rethinking the unique rhythm of traditional Chinese opera and martial arts should be inspired. Secondly, any traditional Chinese dance experience in the effective rhythmic elements, such as folk dance, accumulated a large number of "unique" and "unique" rhythm, can be learned. Thirdly, any source of rhythm that exists in the context of Chinese culture, such as some of the unique musical instruments in classical Chinese music (such as the ancient piano), the white space method in Chinese painting, the speed law formed by breathing Taiji and Qigong, The rhythm of traditional Chinese architecture should be available capital.
【作者單位】： 中國藝術(shù)研究院舞蹈研究所;
【分類號】：J722.4
[Abstract]:"Chinese Classical Dance", which has grown up under the influence of Westernization, has a more obvious sense of break in "time factor" with its inherited mother style such as opera and martial arts. It is this sense of breakage that makes us admire the achievements of Chinese classical dance in "space factor", and still feel that there is not enough fun, that is, its performance of rhythm factor mediocrity and lack of excellence. Eliminating this mediocrity and upgrading it can be done through two channels: one is the stage and the other is the classroom. But the ideal form of rhythm does not come out of nowhere. In response to the development of Chinese opera and martial arts, rethinking the unique rhythm of traditional Chinese opera and martial arts should be inspired. Secondly, any traditional Chinese dance experience in the effective rhythmic elements, such as folk dance, accumulated a large number of "unique" and "unique" rhythm, can be learned. Thirdly, any source of rhythm that exists in the context of Chinese culture, such as some of the unique musical instruments in classical Chinese music (such as the ancient piano), the white space method in Chinese painting, the speed law formed by breathing Taiji and Qigong, The rhythm of traditional Chinese architecture should be available capital.
【作者單位】： 中國藝術(shù)研究院舞蹈研究所;
【分類號】：J722.4
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8 楊U，
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