符号学视阈下的舞蹈语言特质研究

发布时间：2018-04-23 06:40

本文选题：舞蹈语言 + 符号　；参考：《深圳大学》2017年硕士论文

【摘要】：舞蹈语言的特质研究是有关舞蹈本体的研究。舞蹈语言是将人类心灵深处与生俱来的情感状态、文化环境影响下的思维方式、认知方式、生存功利性以及信仰、愿望、生存状态等,通过舞蹈肢体语言或者辅助语言的外化形式进行表达。舞蹈语言本身就是极具符号象征意味的符号形态,与文字语言一样能够表达主观的思想与意义,更能超越性的表达文字无法言状的情感、思维状态。本研究是跨学科的理论性研究,将成熟的符号学研究体系带入舞蹈语言的研究当中,目的是扩充舞蹈理论研究的方法、寻找舞蹈之根。使得舞蹈理论研究更加有理有据,通过舞蹈肢体的现象寻找到其文化内涵、情感表达之核心。本研究分为四个部分:第一部分,绪论。综合叙述本研究的选题缘由、目的意义以及研究的现状,站在巨人的肩膀上客观地看待舞蹈的演变进程;第二部分,符号学理论综述以及舞蹈语言符号的解读。着重从理论的角度阐释舞蹈与符号之间的关系、身体语言符号的研究向度、符号结构、符号特征以及延伸媒介的辅助作用。同时分析舞蹈语言在文化价值系统内所占有的文化形式以及生命形式;第三部分,阐述舞蹈语言所具有的符号性功能以及意义,分析的对于舞蹈形态、规则的影响。第四部分,主要从舞蹈“元语言”符号入手,着重叙述舞蹈“元语言”是将整个生命状态融入舞蹈表达,其生命形式、艺术形式承载了最为完整的真实情感与认知方式。舞蹈语言从发生之初由功能性较强“语言符号”经过社会的变革、文化的变迁,不断抽象化、理性化进而升华成为“审美符号”。由于各个历史时期的人文因素的巨变,导致了艺术面临危机甚至断灭,但是在文明断灭之际,唯有艺术精神得到潜伏性的延续与复活。而这种艺术精神正是“元语言”的“母体”,也是舞蹈语言最为核心的内涵。我们从中可以总结出,所有的外在形式都只是内核的表面形态,舞蹈艺术追寻的理想应当是反映人类最为深刻的内心世界的艺术精神,只有这种精神的存在,才能使舞蹈具有灵魂。本研究尝试从符号学研究的角度,研究舞蹈的形态、发生及其文化。运用科学方法论从另一个角度重新探索舞蹈的功能、意义、文化。紧密贴合舞蹈本体,在理论上融合各家之所长进一步解释舞蹈文化现象问题。透过各种文化符号现象,解读它背后所蕴含的深层含义,把人类舞蹈文化的意义凸现出来。动态地再现“人所创造的舞蹈”这一矛盾统一体的多样性、丰富性、创造性;把舞蹈肢体自由和哲学的自由思想还原为人的自我创造活动,通过舞蹈语言的符号化过程,超越现实、历史的局限,把舞蹈演化的历史看作是文化的历史,在人所构建的意义世界中寻求舞蹈的生存样态。这对于理解舞蹈的“生命形式”,指明舞蹈的“独特之处”,提升舞蹈的“认知境界”,从而寻找打破现代某些仅追求“纯形式”“玩艺术”“靠技巧”出彩的审美取向。具有重要的理论意义和实践创新意义。
[Abstract]:The characteristic study of dance language is the study of the noumenon of dance. Dance language is the emotional state of the human heart, the way of thinking under the influence of cultural environment, the way of cognition, the utilitarianism of survival, the belief, the desire, the state of existence, etc., and the expression of the dance in the form of the dance body language or the external language of the auxiliary language. Language itself is a symbolic form of symbolic meaning, which can express subjective thoughts and meanings as well as word language, and more transcendent to express the unspeakable emotion and thinking state of words. This study is the theoretical study of interdisciplinary, and the mature semiotics research system is brought into the study of dance language. The purpose is to The research method of dance theory is expanded to find the root of dance. It makes the research of dance theory more reasonable, through the phenomenon of dancing limbs to find its cultural connotation and the core of emotional expression. This study is divided into four parts: the first part, the introduction. It is a comprehensive description of the reasons for the study, the purpose and the present situation of the study. The evolution process of dance is viewed objectively on the man's shoulder; the second part, the summary of the theory of semiotics and the interpretation of the language symbols of the dance, focuses on the relationship between dance and symbol from a theoretical point of view, the research direction of the body language symbol, the symbol structure, the symbolic feature and the auxiliary function of the extension medium. The cultural form and the form of life in the cultural value system; the third part, the symbolic function and significance of the dance language, the analysis of the influence of the dance form and the rules. The fourth part, starting with the symbol of the dance "metalanguage", recounts the "metalanguage" of the dance to melt the whole state of life. Into the dance expression, the form of life and the art form carry the most complete real emotion and cognitive way. From the beginning of the dance language, the dance language was transformed from the functional "language symbol" through the social change, the cultural change, the continuous abstraction, the rationalization and the sublimation to become "the aesthetic symbol". The great changes have led to the crisis and even disintegration of the art, but the spirit of art is only a latent continuity and resurrection when the civilization is disconnected. This artistic spirit is the "matrix" of the "metalanguage" and the core of the dance language. From this we can conclude that all the external forms are only the core of the core. The ideal of choreography should be the artistic spirit that reflects the most profound inner world of human beings. Only the existence of this spirit can make the dance have the soul. This study tries to study the form, the occurrence and the culture of the dance from the perspective of semiotics. The function, meaning and culture are closely related to the dance noumenon. In theory, it combines the director of each family to further explain the problem of dance culture. Through various cultural symbols, the deep meaning behind it is interpreted and the meaning of the human dance culture is highlighted. The contradictory unity of "the dance created by man" is reproduced dynamically. The diversity, richness and creativity of the dance, the freedom of the dance body and the freedom of philosophy to the self creation activities, through the symbolic process of the dance language, transcending the reality and the limitation of history, taking the history of the dance as the history of culture, and seeking the living state of the dance in the meaning world of human construction. Understanding the "life form" of dance, pointing out the "unique features" of the dance, and improving the "cognitive realm" of the dance, and looking for the aesthetic orientation of breaking modern "pure form", "playing art" and "relying on skill", has important theoretical and practical significance.

【学位授予单位】：深圳大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J705

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