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作 者:茅慧[1] Mao Hui
机构地区:[1]中国艺术研究院舞蹈研究所
出 处:《中国文艺评论》2024年第7期36-44,I0002,共10页China Literature and Art Criticism
摘 要:新时代以来,在“两个结合”和“两创”方针指导下,中国民族民间舞蹈新作中呈现的人民性更加深邃,人民的风姿仪态更加自信,民族民间舞蹈艺术的舞台意境更加高妙和神奇;中国古典舞创作者更加深入探究和挖掘中华优秀传统文化中的舞蹈文化元素,从历史文物和艺术遗产中提取舞蹈元素,再加以时代审美观照下的动态演绎,成为中国古典舞创作的一股强劲潮流;舞剧更是进入井喷式发展的马力全开时期,近200部舞剧不仅在现实题材方面勇猛推进,题材和舞台呈现样式也多姿多彩,与民同情,与时共进。中国舞蹈驶入全面推进、迅猛成长的快车道。Since the New Era,under the guidance of the guidelines of“two combinations”and“two innovations”,the affinity to the people presented in new works of Chinese ethnic folk-dance has become more profound,the people’s demeanor has become more self-confident,and the stage context of folk-dance art has become even more subtle and magical.The creators of classical Chinese dance have been more deeply exploring and excavating the dance cultural elements in the excellent traditional Chinese culture,extracting the dance elements from historical relics and artistic heritage,and then interpreting them dynamically under the aesthetic view of the times,which has become a strong trend in the creation of classical Chinese dance.Dance dramas have even entered into the period of blowout development with full horsepower,with nearly 200 dance dramas not only pushing forward bravely the realistic themes but also having colorful themes and styles of stage presentation,sympathizing with the people and advancing with the times.Chinese dance has entered the fast lane of comprehensive advancement and rapid growth.
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