通过“浑身板”和“筷子舞”的比较看前者的发展策略

发布时间：2018-01-10 00:15

本文关键词：通过“浑身板”和“筷子舞”的比较看前者的发展策略　出处：《中国艺术研究院》2015年硕士论文　论文类型：学位论文

【摘要】：中国民族民间舞蹈文化有着悠久的历史传统,具有深厚的文化底蕴,每一种舞蹈的形成,背后都有其独特的成因以及文化背景。“浑身板”流传于山西省临汾市翼城县,历经几千年的传衍与发展,已经成为古翼城县深厚文化的主要内容,是一种集审美性与艺术性于一体的传统民间艺术,表演内容分为以南梁镇郭家坡为代表的和以王庄乡王虎村为代表的两种风格各异的套路组合,舞者如痴如醉、酣畅淋漓的打法,深受广大劳动人民的喜爱。但随着时代的不断发展与变迁,“浑身板”虽被列入山西省非物质文化遗产名录,但就其发展现状来看,仍存在诸多问题,如何保护、谁来保护、如何传承、怎样发展,这些问题为我们保护和继承这种古老艺术形式提出了严峻的挑战。蒙古民族是一个有着悠久历史且宝贵舞蹈文化传统的民族,远在氏族部落时代就有以歌舞为乐的记载。“筷子舞”,距今已有二、三百年的历史,过去是蒙古民间一种自娱自乐性质的舞蹈,一般都在过年过节以及婚礼喜庆节日等宴会上才表演,在牧民们饮酒至尽兴时,便会随手拿起桌上的筷子以敲击食具和自己身体的各个部位而舞动。随着时代的发展,筷子舞也渐渐成熟起来,变成了蒙古民族的一种集观赏性、娱乐性、民俗性于一身的表演性的民族舞蹈,极具丰富的现代美学意义。本文通过分别阐述“浑身板”与“筷子舞”这两种舞蹈的形成原因、表演形式与表演内容、艺术风格这三方面内容,深入剖析这两种民间舞蹈形式的文化异同,并就情感、价值、动作、形成原因、舞蹈文化系统、传承方式、发展现状等七个方面进行对比,在对蒙古族民间舞“筷子舞”的保护、传承和发展深入了解的基础上,借鉴其好的经验做法,提出一些对山西民间舞蹈“浑身板”的保护、传承和发展策略。以期在我国加大对非物质文化遗产项目保护力度的大背景下,能够对山西民间舞蹈“浑身板”的保护、传承与发展提供理论依据和实践价值。
[Abstract]:Chinese folk dance culture has a long history of tradition, with a profound cultural heritage, each dance formation. Behind their unique causes and cultural background. "body plate" spread in Linfen City, Shanxi Province, after thousands of years of transmission and development, has become the main content of the deep culture of ancient Yicheng County. It is a kind of traditional folk art which integrates aesthetic and artistic nature. The performing content is divided into two kinds of routine combinations, which are represented by Guo Jiapo in Nanliang Town and Wang Hu Village in Wang Zhuang Township. The dancers are intoxicated with each other. With the continuous development and changes of the times, the "whole body plate" has been listed in the list of intangible cultural heritage of Shanxi Province, but in view of its development status quo. There are still many problems, how to protect, who to protect, how to inherit, how to develop. These problems pose a severe challenge for us to protect and inherit this ancient art form. Mongolia is a nation with a long history and valuable dance culture tradition. "Chopstick Dance", which has a history of two or three hundred years, was a kind of folk dance of self-entertainment and self-pleasure in Mongolia. They usually perform at banquets such as New year's Day and wedding festivals, and when the herdsmen drink alcohol until they have fun. They will pick up the chopsticks on the table to tap the food utensils and their body parts and dance. Along with the development of the times, chopsticks dance has gradually matured, become a kind of Mongolian nation of the collection, entertainment. Folk dance, which is a kind of performance, has rich modern aesthetic significance. This paper explains the formation reason, performance form and performance content of "whole body board" and "chopsticks dance" respectively. Artistic style of these three aspects, in-depth analysis of these two forms of folk dance culture similarities and differences, and emotion, value, action, forming reasons, dance cultural system, inheritance. On the basis of in-depth understanding of the protection, inheritance and development of Mongolian folk dance "Chopstick Dance", the author draws lessons from its good experience and practice. Put forward some protection, inheritance and development strategies of Shanxi folk dance "body plate" in order to strengthen the protection of intangible cultural heritage projects in China under the background. It can provide theoretical basis and practical value for the protection, inheritance and development of Shanxi folk dance.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J722.2

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