论民族舞剧《丝路花雨》创作特征及艺术价值

发布时间：2018-04-11 14:23

本文选题：民族舞剧 + 《丝路花雨》　；参考：《河北师范大学》2014年硕士论文

【摘要】：《丝路花雨》于1979年出现在我国的艺术舞台之上。它的出现，犹如一股清风，为低迷的舞剧创作吹散了阴霾，带来了中国舞剧发展的新动力。《丝路花雨》创作题材的灵感来源于敦煌壁画，，以唐朝的丝绸之路为故事发生背景，展现了老画工神笔张、歌妓英娘等光辉的艺术形象。《丝路花雨》的创作过程极其艰苦，舞剧编创者们坚守在大漠深处，对敦煌的几千尊佛像、几万平方米的壁画进行了艺术采风，创作出新的舞蹈语言和表现形式，给这些肃静的雕像赋予了生命的律动，展现了敦煌莫高窟神秘的艺术魅力。从另一个方面来讲，《丝路花雨》作为敦煌艺术再现的经典之作，其创作与演出的历程，促进了一个全新的古典舞流派——敦煌舞的诞生。敦煌舞流派的创始人——高金荣教授从舞剧的创意阶段开始，就参与了《丝路花雨》全剧的排演工作。从这部舞剧当中，高金荣看到了将敦煌壁画静态舞蹈造型转化为动态舞姿的可行性及其广阔的发展前景。在《丝路花语》的排演过程中，高金荣进行了关于后来敦煌舞流派的初步艺术实践，为这一古典舞分支流派的出现与发展奠定了基础。可以说，没有《丝路花雨》，就不会有今天的敦煌舞流派。而《丝路花雨》中被誉为得敦煌壁画之神髓的“反弹琵琶”舞，无疑也是敦煌舞流派审美理想的集中体现。故而，笔者认为，结合敦煌舞流派的审美理想，从元素运用以及舞姿造型的角度来分析古典民族舞剧《丝路花雨》的美学意蕴，将是一项非常有意义的研究工作。全文共分为六部分开展。第一部分是研究背景、研究意义、国内外研究现状、研究方法和内容；第二部分是对于《丝路花雨》创作背景分析及对剧情的全面介绍；第三部分将结合敦煌壁画舞姿造型及敦煌舞流派的审美理想，来解读《丝路花雨》的艺术创作特征；第四部分是对《丝路花雨》的民族特色及审美内涵的论述；第五部分是对《丝路花雨》的艺术价值体现的讨论，从历史画卷的展示、特殊时期的时代意义、塑造了新的文化符号和文化品牌三方面展开；第六部分为结论，对全文进行概括性的总结。
[Abstract]:Silk Road Flower Rain appeared on the Chinese art stage in 1979.Its appearance, like a clear wind, dispelled the haze for the depressed dance dramas and brought a new impetus to the development of Chinese dance dramas. The inspiration for the creation of the theme of "Silk Road Flower Rain" came from the Dunhuang murals and took the Silk Road of the Tang Dynasty as the background of the story.The creative process of "Silk Road Flower Rain" is extremely arduous, and the choreographers stick to the depths of the desert and view the thousands of Buddhist statues in Dunhuang.Tens of thousands of square meters of murals have carried on the art collection, created the new dance language and the form of expression, gave these silent statues the rhythm of life, and displayed the mysterious artistic charm of Dunhuang Mogao Grottoes.On the other hand, as a classic of Dunhuang artistic reproduction, the creation and performance of Silk Road Flower Rain promotes the birth of a new classical dance school, Dunhuang Dance.Professor Gao Jinrong, founder of Dunhuang Dance School, participated in the rehearsal of Silk Road Flower Rain from the creative stage of the play.From this play, Gao Jinrong sees the feasibility and broad development prospect of transforming Dunhuang murals into dynamic dance styles.During the rehearsal of "Silk Road Flower language", Gao Jinrong carried out the preliminary art practice about the Dunhuang dance school, which laid a foundation for the emergence and development of this classical dance branch school.It can be said that without the Silk Road Flower Rain, there would not be today's Dunhuang Dance School.The "rebound pipa" dance in Silk Road Flower Rain, which is praised as the spirit of Dunhuang frescoes, is undoubtedly a concentrated embodiment of the aesthetic ideal of Dunhuang dance schools.Therefore, the author thinks that combining the aesthetic ideal of Dunhuang dance school, analyzing the aesthetic implication of classical folk dance drama "Silk Road Flower Rain" from the angle of element application and dance style will be a very meaningful research work.The full text is divided into six parts.The first part is the research background, the research significance, the domestic and foreign research present situation, the research method and the content, the second part is for the silk road flower rain creation background analysis and the overall introduction to the plot;The third part will combine the Dunhuang mural dance style and the Dunhuang dance school esthetic ideal, will unscramble "the silk road flower rain" the artistic creation characteristic, the fourth part is to "the silk road flower rain" the national characteristic and the esthetic connotation discussion;The fifth part is the discussion of the artistic value of "Silk Road Flower Rain", from the historical scroll display, the special period of the significance of the times, the creation of new cultural symbols and cultural brand, the sixth part is the conclusion.A summary of the full text is given.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J723.1

【参考文献】