论王延松音乐叙事的双重真实  

The Dual Reality of Wang Yansong's Music Narration

作　　者：廖舒婷 邹元江[1] LIAO Shu-ting;ZOU Yuan-jiang(School of Philosophy,Wuhan University,Wuhan,Hubei 430072)

机构地区：[1]武汉大学哲学学院,湖北武汉430072

出　　处：《艺术百家》2023年第2期108-113,共6页Hundred Schools In Arts

摘　　要：王延松将自己在音乐剧《轮椅的舞蹈》中的导演叙事手法称为“音乐叙事”,认为其不同于传统的文学叙事,音乐叙事是内在的情感叙事与外在的舞台形式叙事的结合。“情”是王延松音乐叙事最重要的源泉与线索,情境的直觉性身体语言设计则是对表演真实的直接呈现。而以具有象征意味的意象或符号来激发戏剧呈现的丰富性,是为了实现诗性的真实。真切情意所带动的直觉性身体表演是舞台上切实可见的“象”,诗意的符号与象征叙事是艺术家为构建诗境而倚仗的“罔”,二者结合形成了戏剧艺术的“真”,这就是王延松音乐叙事的双重真实。Wang Yansong named his directing narration in the musical Dance of Wheelchairs as"musical narration",which is different from traditional literary narration and is the combination of internal emotional narration and external stage form narration."Mood"is the most important origin and clue in Wang Yansong's musical narration,and the construction of intuitive body language in the situation presents the real performance in Wang Yansong's musical narration directly.The richness achieved through symbolic images or signs is to lead to poetic reality.The intuitive body performance driven by real affection is the visible"Image"on the stage,while the poetic symbols and symbolic narration are the"Vanity"relied on by the artist to construct the poetic situation.It is the combination of these that leads to the reality of dramatic art,which is also Wang Yansong's musical narration.

关 键 词：王延松 音乐叙事 情境 诗性 “真” 

分 类 号：J803[艺术—戏剧戏曲]