从“拼贴”与“融合”思维透视当代舞剧音乐创作之特征——以当代民族芭蕾舞剧《牡丹亭》为例  

Insight into the Characteristics of Contemporary Dance Music Creation in the Perspective of “Collage” and “Integration”:a Case Study of Peony Pavilion

作　　者：刘琉[1] 董芳 LIU Liu;DONG Fang(RenMin University of China,Beijing 100872;XingHai Conservatory of Music,Guangzhou 510006,China)

机构地区：[1]中国人民大学艺术学院,北京100872 [2]星海音乐学院作曲系,广州510006

出　　处：《北京舞蹈学院学报》2019年第5期114-119,共6页Journal of Beijing Dance Academy

摘　　要："拼贴"来自法语coller("贴接"),在音乐中的应用多体现在将现成的不同音乐的整体或片段组合一起进行创作。西方音乐中,这一技术的运用已不鲜见。由作曲家、中央音乐学院教授郭文景担纲音乐创作的中国当代民族芭蕾舞剧《牡丹亭》,运用音乐的"拼贴"手法,将传统昆曲与西方19世纪的音乐形成跨时空的"对话",是一次具有探索精神的尝试。本文即以舞剧《牡丹亭》为例,通过分析、概括、总结该剧音乐素材的内涵特质,着重从音乐"拼贴"与"融合"的思维角度,论述音乐作用下的不同舞蹈形象,加深对音乐、舞蹈与戏剧之间关系的认知与思考,进一步探析我国当代舞剧音乐的创作特征。"Collage" comes from French "coller"( "stick") and its application in music is mainly reflected in creation by combining different existing music in their entirety or music clips. The use of the technique "collage"is not uncommon in western music. It was used for the first time in the contemporary Chinese national ballet The Peony Pavilion whose music was created by the composer and professor of Central Conservatory of Music Guo Wenjing,producing a "conversation"across time and space between traditional Kun Opera and western music in the 19 thcentury,which was an attempt with the spirit of exploration. This paper uses the ballet The Peony Pavilion as an example and discusses different dance images under the effect of music mainly from the thinking perspectives of music"collage"and "integration"through analyzing and summarizing the connotations and peculiarities of the music materials in this ballet,so as to enhance the perception and thinking of the relations among music,dance and drama and to further explore and analyze the creating characteristics of contemporary ballet music in China.

关 键 词：牡丹亭 芭蕾舞剧 拼贴 融合 后现代主义 

分 类 号：J645[艺术—音乐]