中国民间舞创作的图式解构与思维创新  

Schematic Deconstruction and Innovative Thinking in the Creation of Chinese Folk Dance

作　　者：潘力维 Pan Liwei(School of Dance,Nanjing University of the Arts,Nanjing,Jiangsu,210013)

机构地区：[1]南京艺术学院舞蹈学院

出　　处：《民族艺术研究》2019年第4期60-66,共7页Ethnic Art Studies

摘　　要：中国民间舞(特指舞台化的民间舞)逐渐从动作性向形象性、从代表性向主题性的方向转变,经历了丰富而曲折的发展过程。在这个过程中,以“元素教学法”为基础的具有社会历史积淀和固定风格面貌的舞蹈动作便构成了舞蹈的“风格图式”,使多种民间舞素材得以在同一视觉思维中进行转换与对应,它既填补了动作层面的风格韵律,也为舞种找到了不断生发与拓展的审美支点。“风格图式”自身的解构与重构对民间舞创作意义重大,如何在既定图式和当代风格之间把握好一个“度”,逐渐成为舞蹈创作者和研究者需要注意的问题。在对风格图式进行改造的过程中,编导若想迎合业内人士的审美,往往倾向于对风格图式进行逻辑性解构,以凸显作品的风格性;而对剧场中的普通观众而言,舞台形象的生动鲜活更能刺激他们的“秩序感”,使作品得到更广泛受众的欢迎和喜爱。Chinese folk dance(the staged folk dance)experienced complicated development,transforming from behavioral to imaginal and from representative to thematic.During this process,the dance movement,which is based on the“element pedagogy”,social historical accumulation and fixed style,constitute the“style schematism”.This allows many folk dance elements to transform and adapt in the same visual thinking pattern.Furthermore,it not only improves the stylistic rhythm at the behavioral level,but also finds aesthetic pivot to continuously generate and expand the dance genres.The deconstruction and reconstruction of“style schematism”itself is significant to the creation of folk dance.It becomes an issue for the choreographers and researchers to consider the degree between fixed patterns and contemporary style.During the process of transforming the stylistic schematism,the choreographers,who want to cater for the aesthetics of the insiders,tend to privilege the logical deconstruction of stylistic schematism in order to highlight the style of the works.As for the ordinary audiences in the theatre,the vivid image on stage can better stimulate their“sense of order”and make the works more popular among audiences.

关 键 词：中国民间舞创作 风格图式 形式思维 形象思维 集成创新 

分 类 号：J704[艺术—舞蹈]