身体视阈下的舞蹈剧场研究--以皮娜·鲍什的《交际场》和王玫的《雷和雨》为例  

A Study of Dance Theater from a Physical Perspective--Taking Pina Bausch's Kontakthof and Wang Mei's Thunder and Rain as Examples

作　　者：周密[1] 徐敏杰 ZHOU Mi;XU Minjie(School of Dance,Fujian Vocational College of Arts,Fuzhou,Fujian 350100,China;School of Music,Fujian Normal University,Fuzhou,Fujian 350117,China)

机构地区：[1]福建艺术职业学院舞蹈学院,福建福州350100 [2]福建师范大学音乐学院,福建福州350117

出　　处：《福建技术师范学院学报》2024年第3期84-90,共7页JOURNAL OF FUJIAN POLYTECHNIC NORMAL UNIVERSITY

基　　金：国家社会科学基金艺术学一般项目(22BB026);福建师范大学创新团队项目。

摘　　要：身体视阈下的舞蹈剧场不再是“沉默的身体动作”,而是“身体的言说”和“声音的言说”在此互为交织,从而形成一个新的整体。在《交际场》和《雷和雨》中,皮娜·鲍什和王玫都运用了身体的空间并置技术,都为着同一主题服务。作品打破了舞蹈即美的传统,拓宽了舞蹈的艺术边界。寻找新的身体呈现方式、表达“具身性”和“文化性”的身体诉求成为皮娜·鲍什和王玫舞蹈剧场作品的主要特征。The dance theater from a physical perspective is no longer just"silent body movement",in which the language of the body and the language of the sound are interwoven,thus forming a new whole.In Kontakthof and Thunder and Rain,Pina Pausch and Wang Mei both employ the technique of juxtapo-sing body space to serve the same theme.The work breaks the tradition of beauty in dance and broadens the artistic boundaries of dance.Finding a new way of body presentation and expressing the body appeal of"embodiment"and"culture"have become the main features of Pina Bausch and Wang Mei's dance theatre works.

关 键 词：舞蹈剧场 身体呈现 比较研究 皮娜·鲍什 王玫 

分 类 号：J705[艺术—舞蹈]