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对当代舞剧本体意义的体认,发轫于社会转型时期对传统叙事性舞剧的不满和挑战,驱动于摆脱戏剧附庸的热望。长期以来,我国的舞剧创作一直套用戏剧叙事结构模式,一个“开端、发展、高潮、结局”的叙事经典程式统摄了舞剧创作的理论与实践。事实上,用人体动作语言去“讲”故事,是“讲”不清楚的,无法与文学语言和戏剧对白比拟。舞蹈拙于叙事而长于抒情,人体动作语言在讲述故事情节方面它短于文学语言的描述性,但它却比其他语言在抒发情感方面更具有描容性。古人云:“言之不足故嗟叹之,嗟叹不足故咏歌之,咏歌之不足,不知手之舞之,足之蹈之。”
The recognition of the meaning of contemporary ballet is about the dissatisfaction and challenge to the traditional narrative ballet during the period of social transition, which is driven by the hope of getting rid of drama dependency. For a long time, the creation of Chinese ballet has been applied to the narrative structure of drama, and the theory and practice of ballet creation have been taken by a classical narrative procedure of “beginning, development, orgasm and ending”. In fact, the use of human body language to move “tell ” story is “speak ” is not clear, can not be compared with literary language and drama dialogue. Dance is clumsy in narrative and longer than lyricism. Human body action language is narrower than literary language in describing the storyline, but it is more flexible than other languages in expressing emotion. The ancients said: “The lack of words, therefore, sigh, the lack of sighs, the lack of songs, the lack of singing, I do not know the dance of the hand, the dance of the foot.”