叛逆之后的娱乐——论60年代出生的舞蹈创作群体

发布时间：2018-06-02 09:05

本文选题：错拍到切分 + 木头人游戏　；参考：《北京舞蹈学院学报》2004年03期

【摘要】：舞蹈在一种孤立和经常单腿独立的状态下从来都是清高而又大同的发展。60年代出生的创作群体是经历了两个孪生的轮回过程,由开始以传统的言语方式叙述新主题,到用新的技术手段言说传统故事,其实在原地打转,但分化情绪和姿态却是越走越远。学院精神和探索同样有着某种独孤求败的气质,在动作上进行院墙内的“拆”和“重建”,象牙塔内的探究其实可以衍生出对于技术言语的熟练把玩和更多可变之规范,大型晚会的彰显,大型舞剧的虚胖,几乎遮挡了所有60年代创作的声音光彩和曾有的诗意张力。独自的人格力量是他们的创作的灵魂,虽然有人失去了,有人坚持着用作品来说话,但毕竟与下一代纯粹技术化,电子化,多媒体化的群体来说,他们更多的是在明确着自己的生活态度,而不是艺术主张。他们是“学院实验性”或“城市实验性”的群体。
[Abstract]:Dance in an isolated and often single leg independent state has always been high and great in the development of the.60 years born of the creation group is experienced two twin cycle process, from the beginning of the traditional language to describe the new theme, to use new technical means to speak traditional things, in fact, in situ, but the differentiation of emotions and posture. The spirit and exploration of the college also have some kind of dismantling temperament, "dismantling" and "rebuilding" in the wall of the courtyard, the Inquisition in the ivory tower can derive the skillful play and more variable norms for the technical language. The large evening meeting, the fat of the large dance drama, almost shielded. All the sound and poetic tension created in 60s. The individual personality is the soul of their creation. Although someone has lost it, some people insist on speaking with their works, but after all, they are more specific to the next generation of purely technical, electronic and multimedia groups. They are artistic opinions. They are "experimental" or "urban experimental" groups.
【作者单位】：中国艺术研究院舞蹈研究所
【分类号】：J702

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