中国古典舞的节奏问题  

Rhythm Problem of Classical Chinese Dance

作　　者：江东[1] JIANG Dong(Research Institution of Dance, Chinese Academy of Arts, Beifing 100029)

机构地区：[1]中国艺术研究院舞蹈研究所,北京100029

出　　处：《艺术百家》2017年第4期150-155,共6页Hundred Schools In Arts

摘　　要：沐浴着西化影响而成长起来的"中国古典舞",其与所继承之母体如戏曲、武术之间在"时间因素"上的断裂感是较为明显的。就是这个"断裂感"让我们在佩服中国古典舞所取得的在"空间因素"上的成就满足之余仍觉得有不够尽兴之处,即其在节奏因素表现上的平庸与乏善可陈。消除这种平庸,使其提升,可以通过两个渠道:一个是舞台,一个是课堂。但理想的节奏形式,并不会凭空而至。因应着中国戏曲和武术而发展起来的中国古典舞,重新思考戏曲和武术的独特节奏方式,应该会获得一定的灵感。其次,凡是中国传统的舞动经验中的有效节奏成分,譬如民间舞中,积淀着大量的具有"唯一性"和"独特性"的节奏型,都是可以汲取的。再次,凡是存在于中国文化语境中的任何节奏源,比如,中国古典音乐中的一些特有乐器乐曲(如古琴曲),中国画中的留白方法,太极和气功靠呼吸形成的速律、中国各朝的各类传统建筑所体现出来的节律感,都应该成为可利用的资本。Greatly impacted by western culture, classical Chinese dance has been more or less broken away from its parents： opera and wushu. Although classical Chinese dance has achieved a lot in spatial factors, it became more and more mediocre in rhythm factors. To remove this mediocrity and promote it, there are tow channels, one is stage and the other is class. However, an ideal rhythm form can not appear without foundation. We could get inspiration from opera and wushu, from folk dances where unique and peculiar rhythm types are hidden. In addition, classical Chinese music such as Qinqu, skills of Chinese painting, breath paid attention to in Taiji and Qigong, and rhythm sense ex- pressed in various traditional architectures in different dynasties, all could be usable resources.

关 键 词：舞蹈艺术 中国古典舞 艺术创作 节奏 节奏源 中国传统文化 审美特征 

分 类 号：J70[艺术—舞蹈]