摘要
20世纪的中国舞蹈创作,带着某种民族文化的认同感和规约感;舞蹈创作主体基于"民族—国家"的叙事身份,趋于"民族—国家"的集体归属,致力于创造一种民族艺术语言以立足于世界舞蹈之林。21世纪的中国舞蹈创作,寻求独立自主发展的意志取代了寻求国家意识形态上的统一,舞蹈创作主体不再付诸于对"民族身体"的向往与追求,"民族—国家"的意识形态在这些艺术创作中被转化、和解。无论是20世纪的"民族—国家"之诉求,还是21世纪的"民族—国家"之和解,创作主体始终在进行的是一个身份认同和自我定位的过程。在世界舞蹈文化的格局中,艺术家们已然不需要再扮演一种表面的、立即生效的和所谓的地方差异性,而是应该超越某种僵化了的文化模式的局限,从自身的范围和封闭的状态中走出,这正是当下中国舞蹈艺术创作的活力和创造力所在。
Chinese dance choreography in the 20th century had a strong awareness of national cultural identity.Dance creation was mainly based on the"nation-state"narrative identity,committed to create a national artistic language in the global dance community.In the 21st century,individual autonomy supercedes national ideology in Chinese dance creation,and the"individual body"takes the place of the"national body".The"nation-state"ideology is transformed and reconciled in artistic creation.Regardless of the insistence on the"nation-state"identity in the 20th century or its reconciliation of the"nation-state"in the 21st century,dance choreography is always a process of identity recognition and self-positioning.In the global dance culture,artists no longer need a superficial and immediately effective so-called"local difference".They should transcend a certain rigid cultural model,going out of their enclosed condition.This is where the creativity of Chinese dancelies.
出处
《当代舞蹈艺术研究》
2020年第2期60-64,共5页
Contemporary Dance Research
基金
2017年度国家社科基金艺术学青年项目“‘民族身体’的想象性重塑:世界格局中‘中国性’舞蹈的构形研究”(项目编号:17CE193)研究成果之一
2019年度北京舞蹈学院民族舞蹈文化研究基地“中国舞蹈学科理论体系研究”子项目“民族舞蹈编导理论研究”研究成果之一
