舞蹈表演的真实体验与真情表现——兼论王冬梅在《西域丽影》中的表演特色

发布时间：2018-05-03 09:27

本文选题：情感刺激物 + 体验　；参考：《北京舞蹈学院学报》2005年01期

【摘要】：舞蹈表演需要情感体验,舞蹈演员通过体验生活,体验与自己相近的人的愿望和心情,能从不自主的手之舞之,达到自由地、有目的地运用这些"手之舞之",这是由内而外的心灵之舞。舞蹈演员的情感体验并不是从情感到情感的纯粹情感之物,而应当是在情感的一系列体验中,获得身体表演的独特视觉,这种包含有人体四肢运动的情感体验是"心"与"物"的统一体。舞蹈演员通过情感体验获得的某一情感指向,应该成为表演的动机。当演员心理的情感因素与最单纯的动作或最复杂的动作组合融合在一起的时候,就产生了一种新的、非常特别的东西--表演欲态。一般来说,当一种表演欲态与另一种表演欲态连贯起来的时候,就构成了舞蹈表演的特殊的韵味
[Abstract]:Dance performance requires emotional experience. Dancers can experience life, the wishes and moods of people who are close to themselves, and can dance their hands in an involuntary way to achieve freedom. Purposefully use these "hand dances", which are inner and outer spiritual dances. The dancer's emotional experience is not a purely emotional thing from emotion to emotion, but rather a unique vision of physical performance in a series of emotional experiences. This emotional experience, which includes the movement of human limbs, is the unity of mind and object. An emotional direction acquired by a dancer through emotional experience should be a motive for acting. When the emotional factors of the actor's psychology are combined with the simplest action or the most complicated action, a new, very special thing is created, that is, the performance desire. Generally speaking, when one kind of performance desire is connected with another kind of performance desire, it constitutes the special charm of dance performance.
【作者单位】：北京舞蹈学院舞蹈学系
【分类号】：J712

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