摘要
产生于20世纪80年代的中国古典舞身韵是建立在深厚的传统舞蹈美学基础上的,以戏曲为主体,吸收古典芭蕾等有益因素,使其成为独立的,具有民族性和时代性的舞种和体系。同样,以传统戏曲等民族美学原则为基础,融合诗歌、辞赋、乐舞、古曲而创建的“昆舞”,更指向了传统的精神文脉,具有独立的文化品格。文章以古典舞身韵和昆舞为研究对象,通过对比分析探讨两者建立的取径及方法,为中国古典舞发展过程中“一体多元”的必然性和合理性提供一定的理论参照。
The body rhyme of Chinese classical dance produced in the 1980s is based on the profound traditional dance aesthetics. Taking opera as the main body, it absorbs the beneficial factors such as classical ballet and makes it an independent dance type and system with national and times characteristics. Similarly, based on traditional opera and other national aesthetic principles, Kun Dance, which combines poetry, Cifu, music and dance, and ancient music, points to the traditional spiritual context and has an independent cultural character. This paper takes the body rhyme and Kun Dance of classical dance as the research object, and discusses the paths and methods established by the two through comparative analysis, so as to provide certain theoretical reference for the inevitability and rationality of unity and diversity in the development process of Chinese classical dance.
作者
贾真
JIA Zhen(School of Music and Dance,Lanzhou University of Arts and Science,Lanzhou 730000,China)
出处
《兰州文理学院学报（社会科学版）》
2023年第1期124-128,共5页
Journal of Lanzhou University of Arts and Science(Social Science Edition)
基金
兰州文理学院2022年校级教学质量提升教学改革项目“立足美育视角——高校舞蹈人才培养课程改革实施途径”(2022-ZL-jzgg-23)。
关键词
发展取径
古典舞
身韵与昆舞
比较分析
development path
classical dance
body rhyme and Kun Dance
comparative analysis
