传统的当代化表达:南音舞台化作品创演实践探究——以南音新作《凤求凰》为个案  

Contemporary Expression of Tradition:Exploring the Innovative Practice of Nanyin on Stage:Taking Nanyin New Work of Feng Qiu Huang as an Example

作　　者：杨春祥[1] 陈娟 YANG Chunxiang;CHEN Juan(School of Music and Dance,Quanzhou Normal University,Quanzhou Fujian 362000,China;School of Foreign Languages,Quanzhou Normal University,Quanzhou Fujian 362000,China)

机构地区：[1]泉州师范学院音乐与舞蹈学院,福建泉州362000 [2]泉州师范学院外国语学院,福建泉州362000

出　　处：《泉州师范学院学报》2023年第4期30-34,共5页Journal of Quanzhou Normal University

基　　金：福建省社会科学研究基地重大项目(FJ2020JDZ052);福建省中青年教师教育科研项目(JAS170392);福建省中青年教师教育科研项目(JAS20263)。

摘　　要：在中国传统文化复兴、文化遗产保护、“两创”方针等国家文化战略发展语境下,舞台化作品的创作呈现空前上升趋势,这些作品中不乏有一些佳作,但也存在内涵丢失、形神分离的作品。文章以南音新作《凤求凰》为典型案例,从保护非物质文化遗产的角度,将南音置于社会语境中对其“活态性”进行考察分析,认为弘扬“以人为本”“守正创新”“文化整体性”的理念,对文化遗产保护及实现传统文化的当代性转化具有重要性意义。In the context of national strategies for cultural development,such as the revival of traditional Chinese culture,protection of cultural heritage,and the“Two Creations”policy,the creation of stage works has shown an unprecedented upward trend.In spite of some excellent works,there are also plenty of works which deliberately pursue visual effects,arbitrarily collage and tamper with traditional culture,leading to the loss of connotation and separation of form and spirit.Taking Nanyin new work of Feng Qiu Huang as a typical case,this article analyzes Nanyin’s“liveliness”in the social context from the perspective of protecting intangible cultural heritage,and it is found that promoting the concept of“people first”,“preservation and innovation”and“cultural integrity”is of great significance to protect the cultural heritage and to realize the contemporary transformation of traditional culture.

关 键 词：南音 《凤求凰》 舞台化 创新实践 

分 类 号：J704[艺术—舞蹈]