唐代柘枝舞舞蹈形态流变探究  

Evolution of Zhezhi Dance Forms in the Tang Dynasty

作　　者：任娜[1] REN Na(School of Music,Communication University of Zhejiang,Hangzhou 311000,China)

机构地区：[1]浙江传媒学院音乐学院,杭州311000

出　　处：《北京舞蹈学院学报》2022年第5期66-74,共9页Journal of Beijing Dance Academy

基　　金：2020年浙江省哲学社会科学规划课题“唐代柘枝舞演变研究”(项目编号21NDJC118YB)阶段性成果。

摘　　要：柘枝舞的传入与演变,是唐代外来舞蹈华化中颇具典型特征的现象。从原生态柘枝舞到健舞再到软舞,柘枝舞在唐代经历了三种形态的嬗变。早期原生态柘枝舞呈现出一种豪迈有力、粗犷的动作风格;进入宫廷后,经过教坊专业乐人的创作成为颇具征伐意象的健舞《柘枝》;中唐后,受到南方本土文化与士人阶层审美的影响,舞蹈形态发生了质的变化,其意象性大为增强。文章主要从舞蹈本体视角对柘枝舞的三种形态特点进行动态探析,寻找三者的关联与差异性,重点探究唐代柘枝舞其演变过程中呈现的动作特征,并在此基础上,尝试探索发生这种变化的原因。The introduction and evolution of Zhezhi Dance is a typical localized phenomenon of foreign dances in the Tang Dynasty. From the primitive Zhezhi Dance to the Jian Dance and then to the Soft Dance, the Zhezhi Dance underwent three evolution stages during the Tang Dynasty. In the early period, the primitive Zhezhi Dance showed a bold, powerful and rough movement style. After entering the royal court, it became the Jian Dance “Zhezhi” with conquering implications choreographed by imperial musical officials. After the Middle Tang Dynasty, influenced by southern local culture and aesthetic taste of literati and officialdom class, its dance form experienced a fundamental change, and the symbolic significance was greatly enhanced. From the perspective of dance ontology, this paper conducts the dynamic analysis of the characteristics of the three forms of the Zhezhi Dance, explores their correlation and difference, focuses on the movement characteristics during the evolution of the Zhezhi Dance in the Tang Dynasty, and further investigates the reasons for such changes.

关 键 词：柘枝舞 《柘枝》 《屈柘枝》 舞蹈形态 

分 类 号：J709[艺术—舞蹈]