从审美现代性看中国当代舞台民间舞的审美构建  

The Aesthetic Construction of Contemporary Chinese Theatrical Folk Dance in the View of Aesthetic Modernity

作　　者：仝妍[1,2] 陈若菡[3] 

机构地区：[1]北京大学艺术学院 [2]<北京舞蹈学院学报> [3]湖北文理学院音乐学院舞蹈表演系

出　　处：《民族艺术研究》2016年第5期23-28,共6页Ethnic Art Studies

基　　金：2015年度国家社科基金艺术学项目<中国当代舞蹈发展的"现代性"研究--以历史书写与艺术实践为中心>(批准号:15BE060)课题阶段性成果~~

摘　　要：舞台民间舞是职业化民间舞教育出现后,当代民族民间舞蹈风格演绎的重要载体。在经由广场、课堂到舞台的转化过程中,舞台民间舞的社会功能和审美价值悄然改变。本文以审美现代性中所暗含的后发性、自律性、含混性等特征和相关的概念,分析当代舞台民间舞的审美特征,进而提出当代舞台民间舞美学的转化需要厘清其自身的时代价值、创作原则,借助灵活的发展策略培养固定的观众群体,并结合其普遍的审美趣味,引导当代观众审美观念的改变,使舞台民间舞美学的当代转化和观众审美意识的建构并行不悖。After the emergence of professional folk dance education, theatrical folk dance became an important vehicle for the stylized performance of contemporary ethnic folk dance. During the transformation from square, classroom to the stage, the social function and the aesthetic value of theatrical folk dance changed quietly. By analyzing the nature of late onset, self - discipline and vagueness and other related concepts contained in the Chinese aesthetic modernity, this paper analyzes the aesthetic characteristics of contemporary theatrical folk dance and furthermore proposes that the transformation of contemporary theatrical folk dance needs to clarify its time value and choreographically principle. Moreover, it is necessary to cultivate the fixed audiences via flexi- ble development strategy, and to combine their popular aesthetic taste to direct the change of the aesthetic con- ception of contemporary audiences, so that the contemporary transformation of the aesthetics of the theatrical folk dance can go in parallel with the reconstruction of the aesthetic consciousness of the audiences.

关 键 词：审美现代性 舞台民间舞 审美价值 社会功能 观众群 

分 类 号：J702[艺术—舞蹈]