舞剧《红高粱》的戏剧性与形象语言  

Dramaticism and Image Language in Dance Drama Red Sorghum

作　　者：韩春启[1] 

机构地区：[1]北京舞蹈学院艺术设计系,北京100081

出　　处：《北京舞蹈学院学报》2013年第6期6-9,共4页Journal of Beijing Dance Academy

摘　　要：在舞剧《红高粱》中,编导用人物塑造的强度和故事发展的浓度冲淡了时空的界限,从而构成了这部舞剧一种新的叙述平台。这种主动的追求和处理,给故事叙述和人物塑造带来了不同的表现和连接方式,使舞台空间中的景物和人物不必拘泥于某些特定的生活空间,而是以"写意观念下的超级写实"形态,景随事变,物与心移,紧紧扣住角色的情境、心境而动,从而烘托现实人物的性格和心境,将舞蹈中常用的虚拟的"意"与现实情境中的"实"搭建出一种新的表现形态,既讲述了故事的发展,也强化了人物形象的塑造。In Red Sorghum, the choreographer creates a new narrative platform through intensive development of characters and story, which deliberately obscure the boundaries of time and space. This purposeful approach brings about distinct expression and connection in the narration of the story and the development of characters so that the scenery and characters on the stage are not limited to specific space in real life. Instead, they become ＂ super-reality based on free creation＂, with scenery transforming in response to incidents and emotions. The situations and moods where the characters stay are highlighted to set off by contrast the personality and state of mind of the real character. A new form of express is created by combining the virtual ＂scene＂ frequently employed in dance with the ＂real＂ in the reality, which helps develop the story and strengthen the characters.

关 键 词：舞剧 红高粱 戏剧性 

分 类 号：J723[艺术—舞蹈]