模仿,在舞蹈的多维与一维中游走——解析空间把握下的舞蹈“模仿”现象

发布时间：2018-05-04 08:24

本文选题：模仿 + 舞蹈空间　；参考：《南京艺术学院学报(音乐与表演版)》2009年04期

【摘要】：当今,西方现代舞从训练体系到编创技法,在中国舞蹈教育中已形成较为完善的系统。在这个过程中,现代舞所提倡的"即兴"、"不重复"、"独我"、"拒绝复制"等概念向舞蹈教育全面袭来。笔者认为,以"即兴"为代表的展现舞者内心最真实体验的非模仿类舞蹈,应是在舞者对表演空间、表演规律、表演技法有相当程度的娴熟运用后,方可实现的高级阶段;在此之前的训练过程,尤其是在教室形态中的"开法儿"阶段,模仿不仅是一种学习规律,而且有一定的心理接受的合理性。不过早地,强调"即兴",给予"模仿"充分的理论认识,是培养学生舞蹈创造力的重要环节。本文遵循模仿的"历史由来——心理动因——舞蹈表现"线索,在古今中外的模仿现象中看到了它充满人性化的意义和作用,以及对舞蹈教学训练的独特意义。
[Abstract]:At present, the western modern dance from the training system to the compilation of creative techniques, dance education in China has formed a relatively perfect system. In this process, the concepts of "improvisation", "no repetition", "exclusive self" and "refusal to copy" advocated by modern dance came all round to dance education. The author believes that the non-imitating dance represented by "improvisation" should be an advanced stage after the dancers have a good use of the performance space, performance rules and performing techniques. In the training process before this, especially in the stage of "open method" in classroom form, imitation is not only a learning rule, but also has certain rationality of psychological acceptance. Not too early, emphasizing "improvisation" and giving "imitation" full theoretical understanding is an important link to cultivate students' dance creativity. This paper follows the clue of "historical origin-psychological motivation-dance performance" of imitation, and sees its humanized meaning and function in the imitation phenomenon of ancient and modern times, as well as its unique significance to dance teaching and training.
【作者单位】：温州大学教育学院;
【分类号】：J705

【共引文献】