【摘要】：隨著中國社會(huì)的現(xiàn)代化進(jìn)程,清末民國時(shí)期的舞蹈在"西化"的浪潮中逐漸構(gòu)建其現(xiàn)代的面孔:宮廷舞蹈的傳統(tǒng)因步入文明在時(shí)間上被斷裂,民間舞蹈的傳統(tǒng)因"半殖民半封建"在空間上被割裂,中國舞蹈在"五四"新文化運(yùn)動(dòng)的洗禮中也起了根本的變化,從封建的舞蹈文化里開始掙脫出來,并在20世紀(jì)初西方多元舞蹈文化的傳播沖擊下,在"民族國家""個(gè)性主義""革命救亡"的時(shí)代話語中,中國現(xiàn)代舞蹈發(fā)展出現(xiàn)了與古代舞蹈有著本質(zhì)性區(qū)別的、體現(xiàn)中國早期"現(xiàn)代性"的新的審美和價(jià)值判斷標(biāo)準(zhǔn),形成了有別于傳統(tǒng)的"新舞蹈"。這種"新舞蹈"在從啟蒙到革命的轉(zhuǎn)變中積淀了新中國舞蹈藝術(shù)現(xiàn)實(shí)主義傳統(tǒng)的"基因"。
[Abstract]:With the modernization of Chinese society, the dance of the late Qing Dynasty and the Republic of China gradually constructed its modern face in the tide of "westernization": the tradition of court dance was broken in time because of the civilization. The tradition of folk dance was cut apart in space because of "semi-colonial and semi-feudal," and the Chinese dance also underwent a fundamental change in the baptism of the New Culture Movement of the May 4th Movement, which began to break free from the feudal dance culture. At the beginning of the 20th century, under the impact of the spread of multi-culture in the West, in the discourse of "nation state", "individualism" and "revolution to save the nation", the development of modern Chinese dance is fundamentally different from that of ancient dance. The new aesthetic and value judgment standards embodied in the early Chinese modernity formed a new dance different from the traditional one. This kind of new dance accumulates the "gene" of Chinese dance art realism tradition in the transition from enlightenment to revolution.
【作者單位】： 北京舞蹈學(xué)院學(xué)報(bào)編輯部;
【基金】：國家社科基金藝術(shù)學(xué)項(xiàng)目“中國當(dāng)代舞蹈發(fā)展的‘現(xiàn)代性’研究——以歷史書寫與藝術(shù)實(shí)踐為中心”(課題編號(hào)2015FE02686)課題成果之一
【分類號(hào)】：J705
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本文編號(hào)：2402984