摘要
本文论证了20世纪50年代中国民间舞走上舞台之初,通过向苏联芭蕾和舞台民间舞学习,接受了苏联舞台民间舞所实行的芭蕾"代表性"的民间舞理念,这一理念使中国舞台民间舞走上了"纯舞蹈型民间舞"的道路,从而与中国原生态民间舞综合性特征在形式要素上产生巨大区别;同时也脱离了世界其他国家舞台民间舞的综合性特征,迈出了中国舞台民间舞在形式要素上与世界其他国家舞台民间舞相区别的第一步。在此基础上,本文进一步论证了"纯舞蹈型民间舞"理念对中国舞台民间舞审美意识的影响。
This thesis examines the history of Chinese folk dance in 1950s, when Ballet and theatrical folk dances from the former Soviet Union were introduced and taught in China and how conception of Character dance, once applied in theatrical folk dance in Soviet, directed Chinese folk dance to establish ＂pure type of folk dance＂, which distinguishes itself considerably in terms of formal elements from Chinese primordial type of folk dance as well as theatrical folk dances worldwide. The author further explores the influence of this ＂pure dance＂ conception on aesthetic awareness of Chinese folk dance on stage.
出处
《北京舞蹈学院学报》
北大核心
2013年第5期6-9,共4页
Journal of Beijing Dance Academy
