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2013年,舞剧《秋瑾——那个秋天里的女人》走进了北京舞蹈学院冬季演出季。时至今日,作为中国舞剧,“秋瑾”这个形象依然存在于舞台之上。同时,也正因该舞剧不仅注重对舞台创作与表演实践的深入探索,其理论上的思考与研究,也是该剧自创作以来所始终坚持的。所以,这场“秋天”的到来势必能够再次掀起一场创作与思考蝴良潮。以“剧”塑“人”首先,从对人物的取材角度出发,秋瑾这个形象取自于真实仔住的中国历史人物。因此,该作品在创作之初也就具备了“先天”优越之处,即编导可以借助原型来进行诠释,但同时也面临着一个挑战,
In 2013, the dance drama Qiu Jin - the woman in the autumn entered the winter performance season of Beijing Dance Academy. Today, as a Chinese ballet, “Qiu Jin ” this image still exists on stage. At the same time, it is precisely because the dance drama not only focuses on the in-depth exploration of stage creation and performance practice, but also theoretically considers and researches the drama since it was created. Therefore, the arrival of this “Autumn ” is bound to be able to once again set off a wave of creativity and thinking. First of all, from the point of view of the characters, Qiu Jin is taken from the real historical figures in China. Therefore, the work also has the “innate” superiority at the beginning of creation, that is to say, the author can use the prototype to interpret it, but at the same time it also faces a challenge,