为了成长中的中国现代舞能更扎实地走下去,需要我们正视这质变的问题。回望中国现代舞的先驱们,从华超的《希望》,到王玫的《潮汐》《我们看见了河岸》。从表现磨难后看到了希望。从中华民族千年苦难中获得的沉沉的情感,这种独特的情感所升华的各种艺术使中国人在艺术形式上的创造独具一格。而我们这一辈现代舞人,正站在质变的边缘,我们该怎么面对呢?我们还能编什么?生于改革开放后期的我虽然没有经历过从前,惊天动地的历史,但是大时代还是赋予了我们很多值得创作的题材,全球都在多元化,更何况现今无论是哪个门类的哪种学科都不再是单一的肯定与否定,都是多层次、多角度、多方面,尽可能地去全面把握问题。这是一个大趋势。我想这对于题材把握,和创作的角度,以及创作手法同样适用。这就使我们对于一些老题材可以用新见解、新看法、新眼光全面地去衡量、去创作。对于新题材的选择也可以用更宽、更广、更深层次的态度去把握、去创作。我想如果每个创作者对于自己想表现的题材都有自己全面而深刻的诠释,舞蹈走入模式化的僵局是可以避免的。 In order for the growing Chinese modern dance to go solidly, we must face up to the qualitative change. Looking back at the pioneers of modern Chinese dance, from Huashao’s “hope” to Wang Mei’s “tide” “we saw the river bank.” I saw hope after the show of suffering. The subdued emotions gained from the Millennium suffering of the Chinese nation and the various art sublimated by this unique emotion make the Chinese unique in their artistic creation. And our generation of modern dancers, are standing on the brink of qualitative change, how should we face? What can we make? Born in the late reform and opening up although I have not experienced the past, earth-shattering history, but the era is Given us a lot of subjects worth creating, the world is diversified, not to mention now no matter what kind of disciplines which are no longer a single affirmation and denial are multi-level, multi-angle, multifaceted, as much as possible To fully grasp the problem. This is a big trend. I think this holds for the theme, and the creative point of view, as well as creative techniques also apply. This allows us to use new insights, new perspectives and new perspectives on a number of old topics to measure and create. The choice of the new theme can also use a broader, broader and deeper attitude to grasp, to create. I think if every creature has its own comprehensive and profound interpretation of the subject matter that it wants to express, it is avoidable that the dance should enter into a modeled stalemate.