从“长袖善舞”到“水袖技艺”——艺术批评视域下近代袖舞的跨文化实践与经典化轨迹  

From “Long-Sleeve Dance” to “Artistry of Sleeve”:Intercultural Practice and Canonization Process of Modern Sleeve Dance in the View of Art Criticism

作　　者：李碧 彭志 LI Bi;PENG Zhi(Zhejiang Sci-Tech University,Hangzhou 310018;Chinese National Academy of Arts,Beijing 100012,China)

机构地区：[1]浙江理工大学,杭州310018 [2]中国艺术研究院,北京100012

出　　处：《北京舞蹈学院学报》2023年第2期28-35,共8页Journal of Beijing Dance Academy

基　　金：国家社科基金青年项目“明清戏曲批评及经典意识研究”(项目编号21CZW031)阶段性成果。

摘　　要：袖舞作为中国雅乐舞体系中重要的一环,因其较强的表演性为观众所喜爱。在近代新旧文化交替、碰撞的过程中,尽管传统舞蹈受到西方交谊舞和现代舞的冲击,但对这一时期戏曲舞蹈的丰富和发展发挥了重要推动作用。袖舞在戏曲中的跨文化实验既得到跨艺术门类的文化认同,又受到跨文化群体的高度评价。从“长袖善舞”到“水袖技艺”的经典化过程主要经历了三个阶段:一是“梅舞”的跨文化认同和海外传播;二是“程派”艺术对水袖技艺的理论重塑;三是当时新型媒体评论的推动和关注。由此,在近代改良主义思潮下,袖舞这一传统技艺以跨文化创新之路得以焕发青春,适应新的土壤,成就新的经典,至今仍广泛流传。As an important part of the Chinese ceremonial music and dance system,sleeve dance is loved by the audience due to its strong expressiveness.Despite the impact of Western ballroom dance and modern dance,traditional Chinese dance played an important role in the enrichment and development of opera dance in the alteration and collision between traditional and new cultures in modern times.The intercultural experimentation of sleeve dance in traditional opera has not only been recognized beyond art categories,but also highly appreciated by intercultural groups.The canonization process from long-sleeve dance to artistry of sleeve has gone through three main stages:first,the cross-cultural recognition and overseas spread of the “Mei Lanfang's dance”;second,the theoretical remolding of the sleeve technique by “School of Cheng”;third,the promotion and attention of new media comments.Thereby,under the trend of modern reformism,sleeve dance as a traditional art become a new classic by means of intercultural innovation to rejuvenate and adapt to the new soil,which is still widely spread today.

关 键 词：袖舞 水袖 跨文化 经典化 

分 类 号：J709.9[艺术—舞蹈]