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敦煌壁画中的舞蹈造型源远流长,自先秦、两汉至隋唐五代,随着时代的变迁而风貌备异。以敦煌壁画为题材的舞蹈作品,可以追溯到上个世纪初。梅兰芳先生的京剧《天女散花》构思便源于石窟壁画中的飞天乐伎形象。20世纪五十年代戴爱莲先生创作的双人舞《飞天》,实现了中国舞蹈的突破性进展。但敦煌舞的创造性实践和命名产生于20世纪七十年代,起源于甘肃省歌舞团编排的大型舞剧《丝路花雨》。1979年,《丝路花雨》的编导7次走进石
Dunhuang murals in the form of a long history of dance, from the Qin and Han Dynasties to the Sui and Tang Dynasties and the Five Dynasties, with the changing times and different appearances. Dunhuang murals as the theme of the dance work, dating back to the early last century. Mr. Mei Lanfang’s Peking Opera “Sannv scattered flowers” concept originated from the grotto murals in the flying paradise image. In the 1950s, Dai Ai-lian’s double-dance “Flying” realized the breakthrough of Chinese dance. However, the creative practice and naming of Dunhuang dance originated in the 1970s and originated from the “Silk Road Flower Rain”, a large-scale dance drama arranged by the Song and Dance Ensemble of Gansu Province. In 1979, “silk flower rain” director 7 times into the stone