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本文对马家钦以艺术敏感发现了昆曲中舞蹈艺术遗产的人文价值和艺术价值进行了学术评价,并对“昆舞”创作实践取得一系列阶段性成果给予肯定。尤其是对昆舞与音舞诗剧《虞美人》的创作借用其他舞蹈语汇,与昆舞形成风格和戏剧性对比进行了深入的学理性阐释,指出该剧目的叙述风格别致之处,是采用打乱时序的倒叙这一意识流手法,以别姬及相识为两个主要的抒情支点来结构全剧,因此带有一种浓浓的抒情诗气质和朦胧感。从风格上看,将它称之为“音舞诗剧”颇为恰当。居先生的这一评价也是对昆舞研究的重要推进。我们感谢居其宏先生将这篇文稿交与本刊首发,这是对我们编辑工作的大力支持。他说:“我不是专门研究舞蹈的学者,于舞蹈及舞蹈学本是外行,今天之所以敢于到这样一个专业性、学术性很强的国际研讨会上来做这样一篇发言,主要是受南艺舞蹈学院及艺术创作与实践处领导的指派,以南艺一名教师和普通观众的身份,从教学和观剧的角度来谈谈我对昆舞与音舞诗剧《虞美人》的粗浅思考。”
This article makes an academic appraisal of the humane value and the artistic value of the artistic heritage of Kunqu Opera in Ma Jiaqin, and affirms a series of phased achievements in the practice of Kunqu Dance. In particular, the creation of Kunyu dance and sound and poem drama “Yu-mei-man” borrowed other dance vocabulary to illuminate the formation style and dramatic contrast of Kun-dance, and pointed out that the narrative style of the play is unique and unique. Chaos sequence of flashbacks of consciousness flow method, to my concubine and acquaintance for the two main lyrical fulcrum to structure the play, so with a deep sense of lyric temperament and hazy. From the style point of view, call it “sound and light drama” is quite appropriate. His evaluation of this is also an important advance on the study of Kun dance. We are grateful to Mr. Juji Hong for handing over this presentation to this publication, which is a strong support for our editorial work. He said: “I am not a scholar specializing in dance. I am an amateur in dance and dance studies. I dare to come to such a professional and highly-academic international seminar today mainly because South Arts Dance Academy and the artistic creation and practice of the leadership of the assignment to South Arts, a teacher and the identity of the general audience, from the perspective of teaching and drama to talk about my Kunqu dance and poem and dance drama ”Poppy“ Superficial thinking. ”