论20世纪中期中国舞台民间舞的“人民性”  

“Affinity to the People” of Chinese Stage Folk Dance in the Mid-20th Century

作　　者：李卿[1] LI Qing(Office of Academic Research,Beijing Dance Academy,Beijing 100081,China)

机构地区：[1]北京舞蹈学院科研处,北京100081

出　　处：《北京舞蹈学院学报》2024年第4期1-7,共7页Journal of Beijing Dance Academy

摘　　要：中国民间舞作为现代中国舞蹈艺术的重要审美范式之一,以各民族传统民俗活动中的人体动作为基础,于20世纪中期在中国共产党文艺政策的指引下,由当时的舞蹈工作者逐步建构,形成传统形态、舞台形态、教学形态并驾齐驱的局面。“人民性”作为马克思主义文艺理论的重要范畴,与中国舞台民间舞具有紧密的内在联系。文章力图回到20世纪中期中国舞台民间舞的建构之初,从文化立场、主题表达、创作方式、形式特征四个层面,就中国舞台民间舞“人民性”的内涵进行深入解析。As one of the important aesthetic paradigms of modern Chinese dance art,Chinese stage folk dance is based on body movements derived from traditional folk activities of various ethnic groups.It was gradually constructed by dance practitioners in the mid-20th century under the guidance of the literature and art policy of the Communist Party of China,creating a phenomenon where traditional forms,stage forms,and teaching forms coexisted.As an important category of Marxist literature and art theory,the “affinity to the people” is closely related to Chinese stage folk dance.This paper aims to delve into the initial period of Chinese stage folk dance in the mid-20th century,analyzing the connotation of “affinity to the people” in Chinese stage folk dance from the four dimensions of cultural stance,thematic expression,creation method,and formal characteristics.

关 键 词：“人民性” 舞台民间舞 传统民间舞 

分 类 号：J722.2[艺术—舞蹈]