摘要
"革命历史题材"的表现是对中国共产党作为中国革命领导力量的讴歌;而作为表现"革命历史题材"的舞剧,可以说全部是新中国成立以来,也即中国"当代史"的产物。"革命历史题材"的舞剧创作,最初是为"战士演、演战士"的部队歌舞团所关注;后来成为从事中国芭蕾艺术的舞蹈教育工作者的价值取向。从舞剧语言的"限定性形态"来审视舞剧的题材选择,除芭蕾外,较少有"现实题材"和"革命历史题材"的作品;这也就是说,这两类题材的舞剧就其语言形态而言大多是"非限定性形态"的。这种现象说明,对于"革命历史题材"和"现实题材"的舞剧表现,必须摆脱"风格至上"的桎梏而坚持"表意优先"的取向;只有坚持"表意优先"的取向,舞剧创作才可能在"革命历史题材"的表现,特别是在"现实题材"的表现上取得更大进展。
The performance of“revolutionary historical theme”eulogizes Communist Party of China as a leading force of Chinese revolution.As the manifestation of“revolutionary historical theme”,the dance dramas could be all viewed as the product of Chinses“contemporary history”since the founding of“New China”.The dance dramas creation of“revolutionary historical theme”originally received attentions from military song and dance troupes with the ideal of“played by soldiers and play for soldiers”.It later became the value orientation of dance educators engaged in Chinese ballet.From the“limited form”of dance drama language to examine its theme selection,there are few works of“realistic theme”or“revolutionary historical theme”except for ballet;that is to say,dance dramas of these two themes are mostly“non-limited forms”in terms of language form.It suggests that the dance drama performances of“revolutionary historical theme”and“realistic theme”must get rid of the shackles of“style is supreme”and adhere to the“expression first”.Only by following the“expression first”can dance drama creation make greater progress in the expression of“revolutionary historical theme”,especially in the expression of“realistic theme”.
作者
于平
YU Ping(Ministry of Culture and Tourism,Beijing 100020,China)
出处
《北京舞蹈学院学报》
CSSCI
2020年第1期1-17,共17页
Journal of Beijing Dance Academy
基金
国家社科基金艺术学重大项目“当代中国舞剧的历史脉络、创作实践与发展态势研究(1949-2019)”(项目编号19ZD17)阶段性研究成果
关键词
改革开放
革命历史题材舞剧
舞剧语言
“非限定性形态”
reform and opening-up
dance drama of revolutionary and historical theme
dance drama language
“non-limited form”
作者简介
于平(1954—),男,博士,教授,博士生导师,文化部“十三五”时期文化改革发展规划专家委员会委员、中国文艺评论家协会副主席、南京艺术学院舞蹈学院院长,北京舞蹈学院特聘教授,主要研究领域:舞剧创作理论。
