角色象征与身体审美——白马人面具舞蹈“池哥昼”的文化解读  

Characteristic Symbols and Body Aesthetics: Cultural Interpretation of Baima Mask Dance “Chi-Ge-Zhou”

作　　者：王阳文[1] WANG Yang-wen(The School of Art and Communication, Beijing Normal University, Beijing 100875, China)

机构地区：[1]北京师范大学艺术与传媒学院,北京100875

出　　处：《北京舞蹈学院学报》2016年第6期108-112,共5页Journal of Beijing Dance Academy

基　　金：国家社科基金艺术学项目<交融与协变--白马人面具舞蹈研究>(项目编号14CE115)的阶段性成果

摘　　要：以人体动作为媒介的舞蹈艺术在人们生活中具有重要意义,尤其是自发性的手舞足蹈在生活场景中具有更为深远的意义。舞蹈作为族群文化的组成部分与当地的历史、习俗构成一个文化整体,承载着当地人的观念、认识、情感和表达,已成为当地特有的一种生活方式,以此呈现出的审美特征也更具文化象征的意涵。本文以白马人的面具舞蹈"池哥昼"为对象,在田野调查的基础上,阐释其舞蹈蕴含的文化意义,对理解民族舞蹈的文化与审美提供个案。Dance as medium from human action is important in daily life, especially spontaneous dancing has a more profound meaning in life situations. Occupying the concept, knowledge, emotion and expression of local people with endemic way of life, dance, customs and culture constitute a whole graph of ethnic culture and local history, exhibiting the aesthetic features and cultural symbolic meanings. Based on the fieldwork, the paper interprets the role ＂ Chi-Ge-Zhou＂ from Baima people mask dance and explains the significance of their cultural dance implication, providing a case to understand their ethnic culture and aesthetic orientation.

关 键 词：池哥昼 角色 象征 身体审美 

分 类 号：J722.2[艺术—舞蹈]