摘要
中国现代舞人“在中国做现代舞”的意义是重要且必要的。近年来民营现代舞团的创作和演出生态发生着“正向”的改观,但还比较脆弱。“后疫情时代”,各行各业都出现了明显的分界线,这对于民营现代舞团而言,更增添了难以持续的因素。如何面对“生存”这个现实议题,以及“存在”这个精神议题,是中国民营现代舞团和舞蹈人不得不面对的。2022年世界舞蹈日前夕,一个具有标志性的民营现代舞团陶身体剧场宣布“解散”,在一定程度折射出这个群体的现状。回顾中国现代舞团的发展之路,剖析陶身体剧场个案十余年独特的身体美学“存在”历程,以及面对的“生存”困境和“解散”窘境,文章旨在探讨在“全球在地化”的语境中,通过分析陶身体剧场这一个案,探讨中国民营现代舞团“自救”和“互助”的路径,呼吁“社会互助”体系的制度性建立,共同维护中国现代舞生态的可持续发展。
The significance of Chinese modern dancers“doing modern dance in China”is important and necessary.In recent years,the creation and performance ecology of private modern dance troupes have undergone a“positive”change,but they are still relatively fragile.In the post-epidemic era,there is a clear line of demarcation in all walks of life,which adds to the unsustainability of private modern dance troupes.How to deal with the reality of“survival”?How to cope with the spiritual issue of“existence”?These are the two questions that the Chinese modern dance troupes and dancers have to face.On the eve of World Dance Day in 2022,an iconic private modern dance troupe Tao Dance Theatre announced its“dissolution”,refecting the status quo of all the private modern dance troupes to a certain extent.Through reviewing the development of Chinese modern dance troupes,analyzing the unique body aesthetic“existence”of Tao Dance Theatre for more than ten years,as well as the“survival”dilemma and“dissolution”faced by the troupe,this paper aims to explore the path of“self-help”and“mutual assistance”for private modern dance troupes in China based on analysis of the case of Tao Dance Theatre in the context of“glocalization”.This paper calls for the institutional establishment of a“social solidarity”system to maintain the sustainable development of China’s modern dance ecology.
作者
慕羽
杨普超
Mu Yu;Yang Puchao
出处
《当代舞蹈艺术研究》
2022年第2期14-26,共13页
Contemporary Dance Research
关键词
民营现代舞团
陶身体剧场
后疫情时代
生存与存在
一臂之距
private modern dance troupe
Tao Dance Theatre
post-pandemic era
survival and existence
an arm’s length
作者简介
慕羽,女,博士,北京舞蹈学院教授、硕士生导师,民族舞蹈文化研究基地特聘研究员,中国文艺评论家协会舞台艺术委员会委员,中国音乐剧协会理事。主要研究方向:舞蹈理论与批评、音乐剧艺术与产业;杨普超,女,新西兰奥克兰大学在读博士研究生。主要研究方向:舞蹈理论与批评、社区舞蹈。
