摘要
改革开放40年以来的中国舞剧,首个焦点出现在1979年"新古典舞派"舞剧一马当先,在讴歌民族和睦和畅想文化融通的同时,创新着民族舞剧的表意语言和表意方式,体现出民族舞剧"开放格局"的全新气象。20世纪80年代初,上海歌剧院舞剧团和中国歌剧舞剧院共襄"新古典舞派"舞剧盛举;中国芭蕾舞剧"告别样板",关注中国现、当代文学名著,聚焦"精神创伤""芭蕾民族化"和"心理描写",表现出一种更接近现代人的情愫;而"少数民族舞剧"运用各少数民族舞蹈语言,主要表现"民间传说",后于20世纪80年代中后期向两个方面深化,发挥了"舞蹈本体的优势";至20世纪80年代末90年代初,中国舞剧的"新古典舞派"出现了"新新古典舞派"或"后新古典舞派",并且这类舞剧创作强化"地域色彩"和"交响构成"。自20世纪90年代初以来,强化"地域色彩"的"在地化"追求和认同"交响构成"的"本体化"探索,成为中国舞剧创作题材选择和形态构建的总体趋向。跨入新世纪,中国芭蕾舞剧对题材"现实性"的开掘回到"反抗",而中国民族舞剧的"在地化"追求成为"新常态"。自2014年"国家艺术基金"项目实施以来,中国当代舞剧更是实现了由"高速发展"向"高质量发展"的转型——中国舞剧发展格局正步入充满"新想象"的"新时代"。
The first focus of Chinese dance drama in the last 40 years since the Reform and Opening Up policy appeared in the pioneer dance drama of the“neoclassical school”in 1979.While eulogizing nationality unity and cultural communication,this school also innovates ethnic dance drama in terms of expression language and measures,demonstrating a new image of“Opening Up pattern”of ethnic dance drama.At the beginning of the 1980s,the“neoclassical school”dance was staged jointly by the Dance Troupe of Shanghai Opera House and China National Opera and Dance Drama Theater.Chinese ballet dance drama“said goodbye to the model opera”,paid attention to Chinese modern and contemporary masterpieces and focused on“spiritual trauma”,“nationalized ballet”and“psychological description”,indicating a feeling that is closer to contemporary audiences.On the other hand,using ethnic minority dance language,“ethnic minority dance drama”expressed“folk legends”and it exerted the“advantage of dance noumenon”and developed into two directions in the late 1980s.Around the time of the late 1980s and the early 1990s,“new neoclassical”or“post neoclassical”appeared in the“neoclassical school”of Chinese dance drama.Furthermore,“local features”and“symphony constitution”are emphasized in these dance dramas.Since the early 1990s,the general trend in the selection of themes and pattern construction of the creation of Chinese dance drama can be seen in,firstly,the pursuit of“localized features”,and,secondly,the exploration of the“noumenon”of the identity of“symphony constitution”.In the new century,the exploration of the“reality”of Chinese ballet dance drama returned to“confrontation”,and,the pursuit of“localized”Chinese ethnic dance drama became a“new normal”.Since the operation of National Endowment for the Arts in 2014,Chinese contemporary dance drama transformed from“high-speed development”to“high-quality development”,thus,the pattern of Chinese dance drama marches into a“new era”which is full of“new imagination”.
作者
于平
Yu Ping(China Association of Literary Critics;School of Dance,Nanjing University of the Arts,Nanjing,Jiangsu,210009;Changxin International Art College,Yunnan University)
出处
《民族艺术研究》
CSSCI
2019年第1期104-125,共22页
Ethnic Art Studies
关键词
中国舞剧
改革开放40年
开放格局
开创新域
Chinese dance drama
40 years of the Reform and Opening Up Policy
Opening Up Pattern
Innovation
作者简介
于平,中国文艺评论家协会副主席,南京艺术学院舞蹈学院院长、教授、博士研究生导师,云南大学昌新国际艺术学院名誉院长。江苏南京210009.
