韩国传统舞蹈的现代转型--传统与现代的双重意义  

Modern Transformation of Korean Traditional Dance:the Double Meaning of Tradition and Modernity

作　　者： 杨硕[2] 刘铭(译)[2] Park Sang-hwan;Yang Shuo;Liu Ming

机构地区：[1]韩国成均馆大学东洋哲学系 [2]鲁迅美术学院

出　　处：《中国美学》2022年第1期270-279,共10页Chinese Aesthetics

摘　　要：在近代韩国社会,自20世纪10年代开始从宫中艺人传统舞蹈表演过渡到都市近代剧场空间表演的变化,可视为传统舞蹈现代化过程中取得的成就。20年代以后,传统舞蹈被边缘化为艺伎舞蹈。在社会的呼吁下,20年代至30年代以崔承喜(1911-1967)为代表的新舞蹈,将西方舞蹈和传统舞蹈融合,成功实现传统舞蹈的现代化。舞蹈作为一种艺术媒介被分为舞伎舞和艺术舞,前者与妓院文化有关,处于边缘地位;后者则是韩国、朝鲜和中国延边现代传统舞蹈的基本模式。本文从分析传统舞蹈内在发展的意义及局限性和从艺术哲学的角度分析新舞蹈在公共空间中的影响力两个方面,考察20世纪初韩国传统舞蹈的现代转型过程。In modern Korean society,traditional dance performances in the 1910s can be understood as a certain achievement in the modernization process of traditional dance,but after the 2Os,traditional dance traditional dances have been marginalized in the form of gisaeng(Korean geisha)dance.Meanwhile,the new dance,represented by Choi Seunghee(1911-1967)in the 20s and 30s,is successful inmodernizing a kind of traditional dance by combining Western dance and traditional dance in the midst of social response.Dance with the same body as an artistic medium is differentiated into gisaeng dance and art dance.While the former is connected with brothel culture and marginalized,the latter has served as an important basic model of modern traditional dance in South Korea,North Korea and the Korean autonomous regions of China.This article examines the modern transformation process of Korean traditional dance,which took place in the early 2o"century,in two aspects.First,we analyze the meaning and limitations of the inner development of traditional dance.The other aspect is analyzed from an artistic philosophy point of view that the impact of new dances in public spaces.

关 键 词：传统舞蹈 近代舞蹈 新舞蹈 形式 身体 

分 类 号：J705[艺术—舞蹈]