论文部分内容阅读
像所有门类的文学艺术创造实践活动一样,活生生的舞蹈实际上是由舞蹈作品和舞蹈批评两个部分构成。第一部分的结晶体有舞蹈教师、编导和演员;当作品呈现出来时,他们都隐没了,连演员都隐没在角色之中。第二部分则由有特定史学方法的舞蹈史研究者和有特定研究支点的舞蹈理论研究者组成,从事舞蹈的历史批评和现实批评,他们面对的也是剔除了“人际关系”的作品。舞蹈只有在这两者的交流与互动中才能良性循环发展,推出经典的接受“文本”。
Like all kinds of literary and artistic creation of practical activities, the living dance is actually composed of two parts, the dance work and the dance criticism. The first part of the crystal with dance teachers, directors and actors; when the work is presented, they are hidden, even the actors are hidden in the role. The second part is composed of dance history researchers with specific historical methods and dance theory researchers with the specific research fulcrum, engaged in the historical criticism and realistic criticism of dance, and they are also faced with the works excluding “interpersonal relationship” . Only in the communication and interaction between the two dance can a virtuous circle of development, the introduction of the classic acceptance “text ”.