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汉代是整个中国传统舞蹈的奠基时期,有着典型的古代舞蹈艺术的风范,具有鲜明的时代美学特征,并为之后唐代乐舞的繁荣发展奠定了坚实的基础。因此,编创带有汉代风骨形象的男子中国古典舞就需要去挖掘汉代舞蹈的历史印记,追索汉代舞蹈的美学风范,才能塑造出具有浓厚民族特色、具有鲜明汉代气魄的舞蹈。在现今汉代舞蹈作品创作中,最为常见的就是以女乐为主题的女性舞蹈题材的作品,经过长时间的积累和发展,可以说汉代女性舞蹈的语言和语汇有了一定积淀,然而汉代男子舞蹈资源的挖掘、整理、提炼以及开发却显得捉襟见肘。本文以《水墨游龙》这一汉代男性形象的编创研究型舞蹈作品作为案例,从汉代男子舞蹈形象的塑造入手,分析其形象塑造中对舞姿转换、调度流动的特殊选择,最后探讨其形象塑造时的再现到表现的意象化表达,从而论证《水墨游龙》是将汉代舞蹈放在社会文化母体系统之中进行研究和编创的作品。
The Han dynasty was the foundation of the whole Chinese traditional dance. It had the typical style of ancient dance art and its distinctive aesthetic characteristics of the times. It laid a solid foundation for the prosperous development of the music and dance in the Tang Dynasty. Therefore, it is necessary to excavate the historical imprint of the Han dynasty dance and create the aesthetic style of the Han dynasty dance in order to create a Chinese dance with strong ethnic characteristics and distinct dynastic spirit. In the current Han Dynasty dance works, the most common is the female dance theme of the female dance theme works, after a long period of accumulation and development, we can say that the Han Dynasty female dance language and vocabulary has some accumulation, but the Han Dynasty man dance Resources mining, finishing, refining and development are stretched. This paper starts with the creation of the research-based dance works of the male image of “Han Dynasty, Dragon and Ink” in the Han Dynasty. Starting from the shaping of the man’s dance image in the Han Dynasty, this essay analyzes the special choice of the dance-pose transition and the scheduling flow in the image creation, When the expression of the expression of the expression of reproduction, thus demonstrating the “ink dragon” is the Han Dynasty dance on the social and cultural system of maternal research and creation works.