舞蹈剧场创作中两种表演形式的分配与构建  

The Distribution and Construction of the Two Performing Forms in the Creation of Dance Theatre

作　　者：黄磊[1] HUANG Lei(School of Dance , Guangxi Arts University, Nanning 530022 , China)

机构地区：[1]广西艺术学院舞蹈学院

出　　处：《北京舞蹈学院学报》2019年第4期58-66,共9页Journal of Beijing Dance Academy

摘　　要：舞蹈剧场以一种表演形式的出现,深刻地影响了当代舞蹈艺术的创作思维。舞蹈剧场的创作探索,涵盖了包括语言、空间等越来越多的剧场要素,使得这一表演形式逐渐衍化为一种创作形态,不断影响和提升着当代舞蹈作品的意涵。对语言的调用是舞蹈剧场创作手法中常见的现象,身体与文本的关系的厘清,是分析这一手法的理论基础。有声言语与身体动作相结合的表演方式,根据表演者身份介入的不同,可以被分为不同的构成方式——融合、分化及区隔等等。国内外较典型的作品可以成为良好的案例范本,探析这些作品中的言语及动作表演形式的分配方式与构建策略,进一步提出其在不同构成方式中的意义表达,旨在对当下舞蹈创作实践提供可参依据。The emergence of dance theatre as a performing form greatly affects the creative thinking of contemporary dance art. The creation exploration of dance theatre covers more and more theatrical elements such as language and space, which makes this performing form gradually evolve into a creative one, and constantly influences and enhances the connotation of contemporary dance works. The use of language is a common phenomenon in the creation technique of dance theatre, and the clarification of the relationship between body and text is the theoretical basis for analyzing this technique. According to the performer's different identity involvement, the performing mode combined with articulate language and body movement can be classified into different forms: integration, differentiation, isolation and so on. The typical works at home and abroad can be good examples of case study. By analyzing the distribution modes and construction strategies of language and performing forms contained in these works, the paper further puts forward their meaning in different forms of composition, aiming at providing a reference basis for current dance creation practice.

关 键 词：舞蹈剧场 言语 身体 分配 构建 

分 类 号：J730.9[艺术—舞蹈]