交互技术影响下编导的角色自处  

The Role of Choreographers under the Influence of Interactive Technology

作　　者：龙一馨 何人可[1] LONG Yi-xin;HE Ren-ke(Hunan University,Changsha 410082,China)

机构地区：[1]湖南大学,长沙410082

出　　处：《北京舞蹈学院学报》2021年第3期95-98,共4页Journal of Beijing Dance Academy

基　　金：第64批中国博士后科学基金面上资助项目“人机交互中的身体表达及其形式创造”(项目编号214848)阶段性成果。

摘　　要：20世纪80年代,数字媒体技术的发展促成了一种新的实时交互舞蹈实践的出现。它通过某种形式的数字技术为编舞提供一个框架,从而为舞蹈作品的创作和呈现提供新的模式和思维方式。基于实时交互技术的装置舞蹈表演,一方面允许表演者在交互系统的逻辑框架内,根据自己的决定来"激活"或"触发"交互环境的改变,从而加速传统编演关系的重构,使创作者在关注作品的"交互"时,将"编舞"的权力移交给表演者;另一方面,它作为集视觉、听觉、运动觉的一种综合性表演实践,体现了舞蹈编导们对技术和艺术的双重认可与追求,要求不同领域的艺术家联合创作,可能将舞蹈编导排除在作品的主导权之外。In the 1980 s,the development of digital media technology has led to the emergence of a new real-time interactive dance practice. It provides a framework for choreography by some form of digital technology,thus offering new modes and ways of thinking for the creation and presentation of dance works. The installation dance performances based on real-time interactive technology,on the one hand,allow performers to "activate"or "trigger"changes in the interactive environment according to their own decisions within the logical framework of interactive system,thereby accelerating the reconstruction of traditional relationship between choreographers and dancers,and enabling choreographers to transfer the power of "choreography"to dancers while they focus on the "interaction"of works;On the other hand,as a comprehensive performance practice integrating vision,hearing,and kinesthesia,it embodies the choreographers’ double recognition and pursuit of technology and art,and requires artists from different fields to create together,which may exclude choreographers from the dominance of works.

关 键 词：舞蹈编导 实时交互 即兴 装置舞蹈 作品主导权 

分 类 号：J703[艺术—舞蹈]