摘要
"第十届中国舞蹈'荷花奖'舞剧·舞蹈诗评奖"于2016年12月9日落下帷幕,进入决赛的《杜甫》《仓央嘉措》《家》《哈姆雷特》《朱鹤》这五部舞剧在编舞、制作等方面都趋于精良,从中可见舞剧、舞蹈诗创作的质量在进一步提高。这五部作品的创作在某些方面试图解决舞剧创作面对的种种亟待解决的问题,但也暴露出舞剧艺术创作根本性的问题。本文将从舞剧的本体叙事层面的得与失和人物形象塑造方面的成与败来探讨中国舞剧发展的现状及所存在的问题。
'The 10 th ’Lotus Awards’ China National Dance Competition' Dance Drama and Dance Poetry Awards were announced on December 9 th, 2016. The competition focuses on the dance drama works in recent years,nominating five finalists from more than 60 dance drama works, namely, DU Fu, Tsangyang Gyatso, The Family,Hamlet, and Crested Ibises. Each of these five works tries to solve the problems confronted by the dance drama creation in certain aspect, while they reveal the fundamental issue of the artistic creation of dance drama.I. Pros and cons of the ontological narration The dance drama narration, in real sense, is subject to the ontological characteristics of dance art. As dance is an art of expressing emotions through body language, the director of dance drama should deal with the original space of the narrative or script, so as to construct the space and time specific for stage. The author believes that the dance dramas DU Fu and Hamlet make relatively good exploration in that regard. In DU Fu, the dual time-space structural means is used in the main structure to present the DU Fu in cruel reality and the one with the good will towards home and country simultaneously, and to lay out the dance drama structure upon the fierce conflict between men and the environment. This structure itself has formed the choreographer’s language for main narration. The dance drama Hamlet takes the psychological development of the characters as the clues to break the clockwise structure of the time and space, trying to depict a tragic character that is suffering so much and is driven by destiny and interrogated by human nature. From the very beginning of the dance drama, the specific time and space of the work are set at the specific time and specific space, along with the inner struggle of Hamlet, who is in the struggle of 'to be or not to be' and in the whirlpool of slaughtering or escaping, space-time is naturally expanding. Besides,the stage design is remodeled in the dance drama. Stage design, along with its symbolic meaning,
出处
《当代舞蹈艺术研究》
2017年第1期116-122,共7页
Contemporary Dance Research
关键词
舞剧
舞蹈诗
本体叙事
人物形象塑造
dance drama
dance poetry
ontological narration
image building of characters
