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时隔9年之后,中国古典舞作品《粉·墨》于2016年7月7日至8日重新登台,此次复排演出引起了各方关注,两天的演出均是一票难求,足见其吸引力与关注度。对于这部由北京舞蹈学院中国古典舞系主创的舞台作品来说,获得如此广泛的关注并不难理解。长久以来,围绕“中国古典舞”的学科建设与剧目创作不乏论争也不乏质疑,“真身”之辩由来已久,“语汇”之争屡见不鲜。在这样的语境中,作为中国古典舞学科的“重镇”——北京舞蹈学院中国古典舞系主创的作品,《粉·墨》的意义自然不再是简单的“创作”二字可以涵盖,它更像是一种
After a lapse of 9 years, the Chinese classical dance work, “Pink Ink”, re-staged from July 7 to July 8, 2016. The rehearsal show attracted the attention of all parties. Both performances were hard to find, Shows its attractiveness and attention. It is not difficult to understand such a wide range of attention for this stage project, which is the mainstay of the Chinese Classical Dance Department of the Beijing Dance Academy. For a long time, there has been no shortage of questions about the controversy over the discipline construction and repertoire creation of the “Chinese Classical Dance”. The debate about the subject of “true and true” has long been awaited, and the dispute of “vocabulary” is not uncommon. In this context, as the “center of gravity” of the discipline of Chinese classical dance, the masterpiece of the Chinese classical dance of the Beijing Dance Academy, the meaning of “powder, ink” is no longer simply “creation” Word can cover, it is more like one