中国古典舞身韵动律节奏探究

发布时间：2018-05-09 03:45

本文选题：中国古典舞 + 动律节奏　；参考：《北京舞蹈学院》2017年硕士论文

【摘要】：节奏是一种艺术化的语言,是艺术表达中不可或缺的表现方式。中国传统音乐中,琴瑟和鸣," 一弦一柱思华年"、玉笛暗飞,"散入春风满洛城"、坐卧箜篌,"昆山玉碎凤凰叫"、犹抱琵琶,"大珠小珠落玉盘"、丝桐七弦,"调清声直韵疏迟"。这些对音乐的描写无不展现着节奏的艺术魅力。节奏赋予音乐艺术形象感和语言性,使中国传统音乐形成了独特的风格审美。节奏在舞蹈中的作用更为重要,它突出和强调了古典舞鲜明的民族风格,因此如何通过节奏加强对中国古典舞身韵动律节奏的认知和把握?如何通过动律节奏中所表现出的动势、劲力、空间来强化中国古典舞的艺术表现力?成为我们必须思考的问题。当古典舞通过"动静交融"、"对比统一"的运动法则呈现出"龙飞凤舞"的动态形象时,就已鲜明地告诉我们,动律饱含着丰富的节奏。中国古典舞身韵动律节奏的概念包含两点:一是动律节奏是内外相合的,是身体从内到外的节奏表现。二是动律节奏是自在节奏,它不是从音乐或对"音"的模仿中而来的,而是动律自然存在的"自在节奏"。这种动律节奏,在没有音乐的情况下,同样能够体现动势、劲力、空间等艺术效果,形成动作语言。本论文主要通过三个章节展开论述:第一章,中国古典舞与传统音乐在节奏上的共性分析。舞蹈和音乐同为舞台表演艺术,节奏是二者共有的艺术表现手段。在节奏上都追求"线"性审美,古琴的"余音缭绕",昆曲的"一字数转"以及古典舞的"循环往复、起承转合"都是对"线"性审美最好的诠释。二者都以"气"作为内在技法,古琴曲需要弹奏者气息的张力推动琴声的延展,昆曲则需要演员通过多种气息技法来吐字行腔,古典舞"意气力"内三合是动律产生的重要前提。"情"是节奏表现产生的动因。古琴承载着文人雅士的情操,昆曲表演讲究以情为先,古典舞根据形象的塑造则需要通过不同的情绪进行体现和表达。通过以上三点分析,笔者从古典舞与传统音乐节奏共性的分析入手,探寻中国古典舞身韵动律节奏的内涵。第二章,对中国古典舞身韵动律节奏深入研究,本章基于上一章古典舞与传统音乐节奏的共性特点,从"起、行、止"切入分析动律,探寻古典舞身韵动律的节奏内涵。"起、行、止"劲力和气息的多种运用,让动律在起承转合中产生千变万化的节奏。通过对动律节奏深入剖析,发现身韵动律是有自在节奏的,当身体产生松紧、快慢、轻重等劲力对比时,就会呈现动律的自在节奏。在教学中要明确动律的自在节奏,充分利用自在节奏强化古典舞身韵的训练核心,突出古典舞的风格特色。第三章,对动律节奏的把握应从身韵教学延展到技术训练和舞台呈现,笔者聚焦于动律节奏与技术的顺势关系、动律节奏与音乐选择的关系以及动律节奏与动作语言的关系,以此思考动律节奏在教学中的作用和意义,从节奏角度进行教学,让学生具备对节奏的控制能力和舞台表演能力,在教学中为舞台呈现打下基础。
[Abstract]:Rhythm is an artistic language and an indispensable expression in the expression of art. Chinese traditional music, Pian and TSE harmony, "one string and one column of thought in China", jade flute flying dark, "scattered into the spring wind full of Luo city", "Kunshan jade broken Phoenix called", "jade pipa", "big Pearl drops jade tray", "the seven strings of silk Tung", "tune clear sound and rhyme". " The description of music shows the artistic charm of rhythm. Rhythm gives the artistic image and language of music, which makes Chinese traditional music unique style aesthetic. Rhythm plays a more important role in dance. It highlights and emphasizes the distinctive national style of classical dance, so how to strengthen the Chinese classical dance rhythms through rhythm. How to understand and grasp the rhythm of rhythm? How to strengthen the artistic expressiveness of Chinese classical dance through the movement of the rhythm, strength and space in the rhythm of the rhythms? The dynamic rhythm of Chinese classical dance is full of rhythm. The concept of rhythmic rhythm of Chinese classical dance is composed of two points: the rhythm of the rhythm is internal and external and the rhythm of the body from inside to outside. Two is the rhythmic rhythm of the movement. It is not from the imitation of music or the "sound", but the natural rhythm of the dynamic law. Rhythm, in the absence of music, can also reflect the artistic effects of momentum, strength, space and other artistic effects, and form action language. This thesis is mainly discussed in three chapters: Chapter 1, the common analysis of the rhythm of Chinese classical dance and traditional music. Dance and music are stage performing arts, rhythm is the common artistic expression of the two. Means. In rhythm, the pursuit of "line" aesthetic, the "lingering" of the guqin, the "word number turn" of Kunqu and the "follow the circle" of the classical dance are the best interpretation of the "line" aesthetic. The two all take "Qi" as the internal technique, the Guqin music needs the tension of the player to promote the extension of the sound of the piano, and the Kunqu needs the actors to pass through. The three combination of various flavours is an important prerequisite for the creation of the rhythm of the classical dance. "Love" is the motive of the rhythm performance. The Guqin carries the sentiments of the literati, the Kunqu Opera takes the emotion as the first, the classical dance should be embodied and expressed through different emotions according to the shape of the image. Through the above three points From the analysis of the commonness of classical dance and traditional music rhythm, the author explores the connotation of the rhythmic rhythm of Chinese classical dance. The second chapter studies the rhythmic rhythm of Chinese classical dance. Based on the common characteristics of the classical dance and traditional music rhythm, this chapter analyzes the rhythm of the classical dance from the "rise, the line and the stop", and explores the classical dance figure. The rhythmic connotation of the rhythm of motion. "Rise, walk, stop" strength and breath in many kinds of use, let the rhythm of the dynamic rhythm produce the ever-changing rhythm. Through the deep analysis of the rhythm of the rhythms, it is found that the rhythms of body rhyme are at a free pace. When the body produces elastic, slow, and heavy forces, the rhythm of the law will be at ease. In the third chapter, the rhythm of dynamic rhythm should be extended from teaching to technical training and stage presentation. The author focuses on the relationship between rhythm and technology and the relationship between rhythm and technology, the relationship between rhythm and choice of music. And the relationship between rhythmic rhythm and action language, in order to think about the role and significance of rhythmic rhythm in teaching, teaching from the angle of rhythm, let the students have the ability to control rhythm and stage performance, and lay a foundation for the stage presentation.

【学位授予单位】：北京舞蹈学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J722.4

【参考文献】