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中国舞蹈中除了具有优美和谐、清新高雅风格的舞蹈之外,也有充满了诙谐幽默、凌厉恐怖的等不具备一般审美意义的舞蹈。并且这种舞蹈往往都伴随着代表着民间文化的舞蹈形式出现,也跟随生命力旺盛的民间文化一并保留并流传了下来。文章首先明释“丑”的定义和概念,在释义过程中发现:“丑”舞应有两种,一是风趣的,二是凌厉的,在戏曲和民间舞蹈中都有保留,这跟祭祀祖先、驱鬼除疫、生活劳作等活动是紧密相关的。同时在中、西文化中对“丑”的不同理解和阐释,对此概念也有认识层次的差别。其次,就戏曲中和民间舞蹈中所保留的“丑”舞的形式举以代表,作以介绍。再次,联系“丑”舞的存在方式,探究与中国传统文化的联系,寻找“丑”舞合理存在的文化根源。最后,从心理学和美学两方面来思考“丑”舞的本质和归属。
In addition to the dance with beautiful harmony, fresh and elegance, Chinese dance is full of witty humor, fierce horror and other non-aesthetic dances. And this kind of dance is always accompanied by the form of dance representing the folk culture. It is also kept and passed along with the strong vitality of folk culture. The article first explains the definition and concept of “ugly”. During the process of interpretation, we find that there are two kinds of “ugly” dance: one is humorous, the other is fierce. There are reservations in opera and folk dance, Ancestors, exorcisms, living and working activities are closely related. At the same time, different understandings and interpretations of “ugly” in Chinese and Western cultures also have different levels of understanding about this concept. Secondly, we introduce the “ugly” dance which is reserved in the drama and folk dance. Thirdly, contact the existence of “ugly” dance to explore the connection with Chinese traditional culture and find out the cultural roots of “ugly” dance reasonably exist. Finally, from the aspects of psychology and aesthetics, I think about the nature and the attribution of “ugly” dance.