中国经验的身体实践:八十年代“中国现代舞”争鸣再审视  

Body Practice of Chinese Experience: Reviewing the Debate on “Chinese Modern Dance” in the 1980s

作　　者：任文惠[1] REN Wen-hui(School of Liberal Arts,Beijing Dance Academy,Beijing 100081,China)

机构地区：[1]北京舞蹈学院人文学院,北京100081

出　　处：《北京舞蹈学院学报》2020年第6期7-14,共8页Journal of Beijing Dance Academy

基　　金：2020年度教育部人文社会科学研究青年金基金项目“改革开放40年舞蹈争鸣文献整理与研究(1978—2018)”(项目编号20YJC760080);北京市教委2019年度社科计划一般项目“艺术学视阈下的舞蹈观念更新大讨论”(项目编号SM201910051004)阶段性研究成果。

摘　　要：中国现代舞在20世纪80年代作为人的重新发现的舞蹈语言再次登上历史舞台,它冲击着中国舞蹈的传统观念并引发巨大争论,促进了舞蹈艺术观念的转型和变革,凸显中国当代舞蹈艺术的建构使命与身体实践经验。中国现代舞在实现体制内突围的同时也产生了自身的身份焦虑,在现实主义与现代主义之间呈现出多元混合的发展局面。最终中国现代舞在体用之辩中以舞种的身份定位完成其在中国舞蹈艺术体制之内的特殊限定,它在发轫之初的现代精神也在某种程度上被削弱,因此中国当代舞蹈艺术的发展呼唤以中国经验为主体的身体语言的独特贡献。Chinese modern dance,as the dance language rediscovered by human beings,came back to the historical stage in the 1980 s.It impacted the traditional concept of Chinese dance and caused great controversy,triggered the transformation and revolution of the concept of dance art,and highlighted the construction mission and body practice experience of Chinese contemporary dance. While realizing the institutional breakthrough,Chinese modern dance met its own identity anxiety,presenting a pluralistic and mixed development situation between realism and modernism. Finally,Chinese modern dance completed its special definition within the Chinese dance art system with the identification of its dance genre,and its modern spirit in the initial period was weakened to some extent. Therefore,the development of Chinese contemporary dance art calls for the unique contribution of body language with Chinese experience as the main body.

关 键 词：八十年代 中国现代舞 中国经验 艺术体制 当代舞蹈艺术 

分 类 号：J722.6[艺术—舞蹈]