神话之外:舞剧《红色娘子军》之刀枪与身体  

Beyond Mythology:Blades,Spears,and the Body in the Ballet The Red Detachment of Women

作　　者：刘柳[1] Liu Liu

机构地区：[1]中央民族大学舞蹈学院

出　　处：《当代舞蹈艺术研究》2024年第1期80-93,共14页Contemporary Dance Research

基　　金：中央民族大学“青年学术团队引领计划”项目(项目批准号:2023QNYL26)阶段性研究成果之一

摘　　要：相较文学、电影、京剧及话剧等形式的《红色娘子军》作品,芭蕾舞剧《红色娘子军》在艺术上的成就最为突出,且在后样板戏时代长演不衰。对此,那些囿于意识形态的文本阐释,便很难概括这部舞剧的艺术成就,尤其是其所依托的本体论基础。从身体—器物—技术的本体论出发,文章着力突围意识形态阐释中的单向化维度,透过三位主要演员的具身经历,以补充对这部舞剧艺术性的本体论理解。可以说,从意识形态视角向技术本体视角的调转,利于我们从“刀枪—身体”这一生成的力量配置中,体认到身体与器物互为共存的后人类意义。一方面,是探究如何在道具“刀枪”洗礼般的干涉中,激活了身体形变与生成的潜能;另一方面,则是反思身体如何在与“刀枪”的互动交染中,成就了该舞剧的艺术形象和角色魅力。In comparison to various forms of The Red Detachment of Women,such as literature,film,Peking Opera,and drama,the ballet version stands out with remarkable artistic achievements,enduring long after the era of model operas.For those confined to ideological textual interpretations,summarizing the artistic accomplishments of this ballet,especially its ontological foundation,becomes challenging.Departing from an ontology of body-object-technique,this article endeavors to break free from ideologicial interpretation breaks free from ideological interpretation.By delving into the embodied experiences of three main performers,it seeks to complement the ontological understanding of the artistic nature of this ballet.Shifting from an ideological perspective to a technical ontological perspective,it is advantageous for recognizing the post-human significance of the coexistence of body and object in the configuration of power generated from“blades and spears”.The article explores how the props of“blades and spears”,through their baptismal interventions,activate the potential for bodily transformation and generation.It also reflects on how the body,in its interactive contamination with“blades and spears”,achieves the artistic imagery and charismatic roles in this ballet.

关 键 词：《红色娘子军》 器物 身体 装配 形变 后人类 

分 类 号：J723.4[艺术—舞蹈]