彝族左脚舞的乡土语境对舞台语境构成的研究

发布时间：2018-06-28 00:46

本文选题：左脚舞 + 乡土语境　；参考：《中央民族大学》2016年硕士论文

【摘要】：左脚舞,在彝语中称为“咕遮”,起源于云南省楚雄彝族自治州的牟定县,是一种古老的彝族传统舞蹈,有距今已有1000多年历史,但同时是目前云南彝族人聚集区流行最广、影响最深的彝族舞种,享有“彝族文化活化石”的美誉。作为“活化石”主要体现在：第一,它拥有自身独特的风格特点,是彝族民俗节日、迎亲嫁娶等节日上必不可少的舞蹈。第二,它作为一种边缘性、自然性、大众性的民间文化,它是乡间人民消遣、愉悦的一种方式,同时也是人们健身、社会交往的一种社会形式。随着历史及文化的进步,逐渐转化为现时代的真实的展现民族特色的舞台舞蹈,能够推广到更大的范围,展现解彝族人民的传统文化与肢体语言之美。第三,它的形态在不同场合下都呈现不同的功能。生态环境、宗教信仰以及民俗生活对左脚舞的影响构成了左脚舞一个整体的文化语境,并在此语境下不断的发展逐渐形成了左脚舞的形态以及不同场合下形态所产生的功能,左脚舞的舞台创作在其语法、语形、语义系统的基础上不断进行。第四,它从民间舞蹈转化为舞台舞蹈的过程保留着其左脚舞原有的、独特的文化特色。本文绪论部分首先介绍论文的研究背景和意义,对目前左脚舞的研究文献进行重点梳理,阐述了左脚舞艺人、学者、舞台作品等相关理论,综述了左脚舞研究现状。第一章叙述了楚雄彝族的历史与文化,概括总结左脚舞发展存在的文化历史背景,并对当地不同种类的代表性民间舞蹈进行简要的概述。第二章重点论述彝族左脚舞的起源、内容分类与风格特征,梳理不同因素对楚雄彝族左脚舞构成的影响,分别论述地理环境、民俗生活、宗教对左脚舞语形构成的影响,对民间左脚舞的语言形态功能进行分析。第三章以彝族左脚舞作品来描述舞台语境下的彝族左脚舞,通过对彝族三人舞《小伙、四弦、马缨花》和《姑娘的披毡》两部作品进行重点分析,从创作背景、结构分析、动律风格三个方面总结出左脚舞在语境、文本上发生的转变。第四章,总结对民间舞蹈创作的思考,重点就从民间到舞台、从自娱性到表现性的转换,以及民族传统文化的传承与发展展开论述。总之,本文试图对左脚舞的乡土语境对舞台语境的构成进行系统性的分析,着重阐述左脚舞产生发展的历史文化、理论探析、语言形态功能、舞台语境等层面上体现出一般性与特殊性的现象和问题,旨在对民间舞的发展、创新与保护,以及乡土语境对舞台语境的构成所产生一系列的影响,进行一次较为有益的研究分析并希望能为民间舞的创新发展提供一些理论参考。
[Abstract]:The left foot dance, known as "goo Cha" in the Yi language, originated in Mudingxian, an ancient Yi nationality traditional dance in Chuxiong Yi Autonomous Prefecture of Yunnan Province. It has a history of more than 1000 years, but at the same time it is the most popular area where Yi people live in Yunnan. The most influential dance species of Yi nationality enjoys the reputation of "living fossil of Yi culture". As a living fossil, it has its own unique style, and is an indispensable dance for Yi folk festival and marriage. Second, it is a marginal, natural, popular folk culture, it is a rural people pastime, a way of pleasure, but also a social form of people fitness, social interaction. With the progress of history and culture, the stage dance which gradually transforms into the real stage dance of the present era can be extended to a wider range to show the beauty of the traditional culture and body language of Yi people. Third, its shape presents different functions in different situations. The influence of ecological environment, religious belief and folk life on the left foot dance constitutes a whole cultural context of the left foot dance, and in this context, the continuous development of the left foot dance forms the form of the left foot dance and the function of the left foot dance in different occasions. The stage creation of left foot dance is based on its grammar, morphology and semantic system. Fourth, it transforms from folk dance to stage dance with its original and unique cultural characteristics. The introduction of this paper first introduces the research background and significance of the paper, the current left foot dance research literature focus on combing, elaborated the left foot dance artists, scholars, stage works and other related theories, summarized the left foot dance research status. The first chapter describes the history and culture of the Yi nationality in Chuxiong, summarizes the cultural and historical background of the development and existence of the left foot dance, and gives a brief overview of the local representative folk dance. The second chapter focuses on the origin, content classification and style characteristics of the left foot dance of the Yi nationality, combs the influence of different factors on the composition of the left foot dance of Chuxiong, and discusses the influence of geography, folk life and religion on the formation of the left foot dance. This paper analyzes the language form and function of folk left foot dance. The third chapter describes the left foot dance of Yi nationality in the context of the stage. Through the analysis of the two works of the Yi people's dance "Little Man, four string, Ma Ying Hua" and "Girl's blanket", the author analyzes the background and structure of the creation. This paper summarizes the change of left foot dance in context and text in three aspects. The fourth chapter summarizes the thinking of folk dance creation, focuses on the transition from folk to stage, from entertainment to expressiveness, as well as the inheritance and development of national traditional culture. In a word, this paper tries to make a systematic analysis of the local context of the left foot dance and the composition of the stage context, focusing on the historical culture, theoretical analysis, language form and function of the development of the left foot dance. The phenomenon and problems of generality and particularity are embodied in the level of stage context, aiming at a series of influences on the development, innovation and protection of folk dance, as well as the influence of local context on the formation of stage context. To carry on a more beneficial research and analysis and hope to provide some theoretical reference for the innovation and development of folk dance.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J722.21

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