【摘要】：正當(dāng)我們把當(dāng)代二人轉(zhuǎn)的造型姿勢(shì)與紅山及其相近區(qū)域遠(yuǎn)古巖畫圖像表現(xiàn)的男女對(duì)舞姿勢(shì)進(jìn)行比較的時(shí)候,我們非常驚奇地發(fā)現(xiàn)了兩者的一致性。這種一致性是一個(gè)不可否認(rèn)的事實(shí)。我們很難在二人轉(zhuǎn)之外的戲曲、曲藝或戲劇中看到這種現(xiàn)代舞蹈與史前舞蹈造型姿勢(shì)一致性的奇觀。這種一致性的奇觀表現(xiàn)了一個(gè)藝術(shù)的秘密:二人轉(zhuǎn)很可能是史前舞蹈姿勢(shì)的當(dāng)代"遺留物"。從原型性生理心理遺傳的角度考慮,現(xiàn)代二人轉(zhuǎn)是東北原住民對(duì)古老舞蹈范型的集體無(wú)意識(shí)記憶。這種原型記憶是
[Abstract]:Just when we compare the contemporary two-person pose with those of men and women in the ancient rock paintings of Hongshan and its adjacent areas, we are very surprised to find the consistency between the two. This consistency is an undeniable fact. It is very difficult to see this modern dance and prehistoric dance pose concordance in operas, qu arts or dramas outside the Erren Zhuan. This concordant spectacle shows the secret of art: the twirling is probably a contemporary "legacy" of prehistoric dance postures. From the perspective of primitive physiological and psychological heredity, the modern Erren transformation is the collective unconscious memory of the ancient dance patterns of the northeast aborigines. This prototype memory is
【作者單位】： 吉林師大文學(xué)院;
【基金】：吉林省社科項(xiàng)目:“傳統(tǒng)二人轉(zhuǎn)表演形式研究”,(項(xiàng)目編號(hào):2014B146)
【分類號(hào)】：J825

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