中国民族民间舞的原生态情结与时代变革——从杨丽萍的艺术创作说起

发布时间：2018-03-10 13:52

本文选题：中国民族民间舞蹈　切入点：原生态情结　出处：《北京舞蹈学院学报》2009年01期 　论文类型：期刊论文

【摘要】：任何艺术创造都是源于情感而归于理智,伟大的艺术家就是在情感与理智之间寻找人类悲欢的平衡感。当这种创造与民族情感相关的时候,我们不得不思考杨丽萍的《雀之灵》、《云南映像》给我们带来的审美力量与创作思辨;当这种创造与利益无关时,我们又必须面对《藏谜》给予我们的信仰记忆。有人说杨丽萍是在以"原生态"的名义在"做秀",也有人说杨丽萍是在以"原生态"的名义在"破坏"原生态。然而,当一种"做秀"成为艺术家民族情感的体验,当一种"破坏"成为民间舞蹈艺术发展自在规律的写照时,我们作为文艺工作者还能说什么?又应该做些什么?作为本文的一个学辩出发点,从"原生态"的心理情结与艺术的时代变革入手,对舞台民间舞蹈的原生意义进行辨对。虽然未必能够给出一个详尽的"情感解读",至少可以受此驱动进入到实质性意义的"理性思考"当中。
[Abstract]:Any artistic creation comes from emotion and is attributed to reason, and the great artist seeks a sense of balance between emotion and reason. When this creation is related to national emotion, We have to think about Yang Liping's the Spirit of the Finch, the reflection of Yunnan, which brings us aesthetic power and creative speculation; when this kind of creation has nothing to do with interest, Some people say Yang Liping is making a show in the name of "original ecology", others say that Yang Liping is "destroying" the original ecology in the name of "original ecology". When a "show" becomes an artist's national emotion experience, when a "destruction" becomes a portrayal of the development of folk dance art, what can we say as a literary and art worker? What should we do? As a starting point of this thesis, starting with the psychological complex of "original ecology" and the time change of art, Although it may not be possible to give a detailed "emotional interpretation", it can at least be driven into the "rational thinking" of substantive significance.
【作者单位】：北京舞蹈学院;西藏大学;
【分类号】：J722.2

【共引文献】