摘要
从符号学角度来看,舞蹈作品是在“双轴”操作中形成的,要使舞蹈作品意义丰富,就须在作品聚合轴上选择某一关键性元素进行突破常规的巧设。当这些巧设的元素被置入舞蹈作品,它们就成为反常、突出、不拘一格的“刺点”,此时其他具有传达一般认知功能的大部分成分就成为“展面”。“刺点”将意义引向不同的认知域,强调“跨域映射”的转义生成,故突出表现为一种隐喻特征,并主要以动作、服饰、音乐、道具等方式来表现。“刺点”有两个特点:一是“刺点”的聚合系突然拓宽,超出了我们一贯对这一成分的经验认知;二是“刺点”的“在场”恰好替代了原有经验系统中“离场”的成分,“在场”与“离场”元素之间产生的解释类比与联想,造就了作品的与众不同。由此可见,舞蹈作品是否有深度,关键就看“刺点”安排得是否巧妙。故厘清“刺点”在舞蹈作品中的表意原理,对舞蹈创作具有重要意义。
From the semiotic point of view, dance works are formed in the bi-axial relationship of “paradigmatic and syntagmatic”. In order to make dance works rich in meaning, it is necessary to break through the conventional design of some key components in the bi-axis. When ingenious elements are placed in dance works, they become abnormal, prominent, and eclectic “punctum”. Meanwhile, most of the other elements that have the function of conveying general cognition become “stadiums”. The “punctum” directs the meanings to different cognitive domains, emphasizing the transitive generation of “cross-domain mapping”, so it is manifested as a prominent metaphorical feature and presented in the form of movement, costume, music, props, etc. There are two characteristics of “punctum”: one is that the bi-axis of “punctum” suddenly broadens beyond our usual empirical cognition;the other is the “presence” of “punctum” happens to replace the “absent” components in the original empirical system. The explanatory analogy and association between the “present” and “absent” elements make the dance work distinctive. Thus, the key to the depth of a dance work depends on the design of “punctum”, and it is of great significance to clarify the ideographic principle of “punctum” in dance works.
作者
袁杰雄
YUAN Jie-xiong(School of Literature and Journalism,Sichuan University,Chengdu 610064,China)
出处
《北京舞蹈学院学报》
CSSCI
北大核心
2022年第5期98-104,共7页
Journal of Beijing Dance Academy
基金
2020年国家社会科学基金重大项目“当代艺术提出的重要美学问题研究”(项目编号20&ZD049)阶段性成果。
关键词
中国民族民间舞蹈
“刺点”
“展面”
双轴关系
表意原理
Chinese ethnic and folk dance
“punctum”
“studium”
bi-axial relationship
ideographic principle
