舞剧《我们看见了河岸》之互文性研究  

A Study of Intertextuality of the Dance Drama We Saw the Riverbank

作　　者：贾东霖[1] JIA Donglin

机构地区：[1]星海音乐学院

出　　处：《星海音乐学院学报》2022年第2期166-176,共11页Journal of Xinghai Conservatory of Music

基　　金：国家社科基金艺术学项目《岭南舞蹈史研究》(18BE081);广东省高等教育教学研究和改革项目《编、演、教、鉴融合创新的舞蹈编导课程教学模式研究》(2019SJG02)。

摘　　要：由北京舞蹈学院王玫教授创作于2001年的现代舞剧《我们看见了河岸》,以《黄河船夫曲》的一句歌词为舞剧名称,以钢琴协奏曲《黄河》为舞剧音乐,用《现状》《苦闷》《反抗》和《解放》四个篇章表现了编导对“中国现代舞”这一舞种在发展中出现的问题进行反思和抗争,表达了对“中国现代舞”这一“身份”的追求和努力。本文以“互文性”理论视角,在该舞剧首演21年后重新对其审视,分别从舞剧主题互文性、舞剧音乐文化互文性、舞蹈动作语言互文性,以及对此互文性的文化传统追溯等方面展开阐释,在精深感受这部舞剧艺术价值的同时,深刻认识以王玫为代表的一代中国现代舞人对“中国现代舞”这个独立舞种的建设所做的坚毅卓绝的追求和努力。The modern dance drama We Saw the Riverbank,created in 2001,is one of the representative works of Professor Wang Mei of Beijing Dance Academy.It uses a lyric of The Yellow River boatmans Song as the name and the piano concerto Yellow River as the music.In four chapters of"Current Status","Depression","Resistance"and"Liberation",this dance drama represents the choreographers reflections and struggles on the problems arising in the development of"Chinese modern dance",and expresses the pursuit and efforts for the"identity"of"Chinese modern dance".This paper re-examines the dance drama 21 years after its premiere from the perspective of"intertextuality"theory-in particular,from the intertextuality of the theme,the intertextuality of the music culture,the intertextuality of the movement,and the intertextuality cultural tradition tracing.While deeply feeling the artistic value of this dance drama,we also deeply understand the perseverance and efforts of the generation of Chinese modern dancers,represented by Wang Mei,in the construction of"Chinese modern dance"as an independent dance genre.

关 键 词：互文性 中国现代舞 文化自信 

分 类 号：J705[艺术—舞蹈] J723