两种现代性:“民族舞剧”与“中国舞剧”的创作实践及观念争鸣  

Two Types of Modernity: Creation Practice and Contentious Concepts of “National Dance Drama” and “Chinese Dance Drama”

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》2022年第1期17-24,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)阶段性研究成果。

摘　　要：“民族舞剧”与“中国舞剧”之争作为新时期舞剧创作实践与观念更新的一次重要争鸣,呈现出舞剧艺术由革命现代性向审美现代性转换与更替的多元面貌,勾勒出中华人民共和国成立后舞剧艺术发展的两种现代性图景。此次争鸣由新时期舞剧创作的实践引发,从舞剧观念上持续引发了关于中国舞蹈的发展创新与古典、民间、西方之间关系的探讨,推动了中国舞剧创作观念的更新,奠定了新时期舞剧艺术多元开放的发展格局,体现出中国舞剧在自我与他者之间不断审视与探索的发展历程。As an important contention for the creation practice and concept renewal of dance drama in the new era, the debate between “national dance drama” and “Chinese dance drama” presents multiple features of the transformation and replacement of dance drama from revolutionary modernity to aesthetic modernity, and outlines two modernity prospects for the development of dance drama after the founding of the People’s Republic of China. This contention was triggered by the practice of dance drama creation in the new era, and it continued to lead to discussions on the development and innovation of Chinese dance, and the relationship among the Chinese classical dance, folk dance and western dance, which promoted the concept renewal of Chinese dance drama creation and laid the foundation for the diversified and open development pattern of dance drama in the new era. It reflects the development of Chinese dance drama in its constant examination and exploration between itself and others.

关 键 词：民族舞剧 民族化 革命现代性 中国舞剧 审美现代性 

分 类 号：J709[艺术—舞蹈]