从《奔月》到《青春祭》——舒巧大型舞剧艺术创作感思

发布时间：2018-11-02 19:44

【摘要】：本文从《奔月》作为舒巧舞剧创作的处女作、对古典舞蹈形态乃至编创理念的革命性"颠覆"、编舞所力不能及的表达由结构的调整来完成、从贬低"可舞性"到重提"可舞性"的思索、《画皮》是用"舞蹈程式"来进行结构的舞剧、人性的普遍弱点在于为现象世界所迷惑、支撑"舒巧式舞剧大厦"的核心理念、"架构感情就是架构剧情"的舞蹈编排指向、《红雪》精心营造舞剧构图的平衡图式、"无奈的随缘"造就"人生的宁静"、对自我公众形象处心积虑的躲避、"我的父辈和我都为信仰而澎湃过"、以《玉卿嫂》为端点的两个"三级跳"、历史的舞应当服从现实的人等14个方面对舒巧的大型当代舞剧艺术创作做了全景式的深入分析,其中,舒巧舞剧创作对于中国当代舞剧艺术创作创新发展的意义所在,成为本文"感思"的焦点。关于舞剧《奔月》的创作体会,其实比舞剧《奔月》本身对于新时期的中国舞剧创作产生着更为积极的影响。舞蹈《奔月》的探索主要涉及到舞剧结构和舞蹈语汇运用两个方面,实际又只是一个问题,即如何运用舞剧这个特定的形式更深入地刻画人、表现人。《奔月》不属于编创的"现代舞",但又并不遵循古典舞的法则,而是打着"真实反映生活"、"揭示人物内心"的旗号,用现代艺术的"解构"理念,对古典舞的形态乃至其更深的编创理念进行了一次革命性的"颠覆"。舒巧自我设定的理论命题为"结构上升为语言",其本意是"结构"所具有的"语言意义"。从舞蹈艺术创作的角度审视,"语言的结构意义"和"结构上升为语言"作为一种创作方法乃至观念的变革,是为着这样一个目标的:写人物——写自己理解的人物——写自己理解人物的内心世界——或者干脆就是写自己的内心世界。论及舒巧的舞剧和舒巧对舞剧创作的认识,必须清楚一个重要的前提——即历史的舞应当服从于现实的人,服从于舞剧人物性格的塑造和当代舞蹈家艺术个性的发挥。这也是我们感思舒巧大型舞剧创作时最质朴的认识。
[Abstract]:In this paper, as the first creation of the Shuqiao dance drama, the revolutionary "subversion" of the classical dance form and even the creative idea, the unimaginable expression of the choreographer is accomplished by the adjustment of the structure. From belittling "Dancing" to mentioning "Dancing" again, "Picture" is a kind of dance play with "dance program". The universal weakness of human nature lies in being bewildered by the phenomenal world and supporting the core idea of "comfortable Dancing Tower". The dance choreography of "structuring emotion is structuring plot", "Red Snow" carefully creates the balance schema of composition of dance play, "helpless fate" creates "the tranquility of life", and avoids the self-image of the public. "my parents and I have all been surging for faith." the two "three-level dances" at the end of "Yuqing Sister-in-law" should be subjected to a panoramic analysis of the artistic creation of comfortable large-scale contemporary dance dramas from 14 aspects, such as realistic people, etc. Among them, the significance of the creation of Shu Qiao Dance Drama to the creative development of Chinese contemporary dance drama has become the focus of this article. The creative experience of dance drama "running to the Moon" actually has a more positive effect on the creation of Chinese dance drama in the new period than the dance drama "running to the Moon" itself. The exploration of dance "running to the Moon" mainly involves two aspects: the structure of dance drama and the use of dance vocabulary. In fact, it is only a problem, that is, how to use this particular form of dance drama to depict people more deeply. To show people. "run to the Moon" does not belong to the "modern dance", but does not follow the rules of classical dance. Instead, it uses the "deconstruction" concept of modern art under the banner of "reflecting life truly" and "revealing the heart of the characters." It is a revolutionary "subversion" to the form of classical dance and its deeper creative idea. The theoretical proposition of comfortable self-setting is "structure rises to language", and its original intention is "language meaning" of "structure". From the point of view of dance artistic creation, the structural meaning of language and the rise of structure to language as a creative method and even a change of ideas, The goal is to write about people-people who understand them-to understand people's inner worlds-or simply to write about their inner worlds. When it comes to Shu Qiao's dance drama and Shu Qiao's understanding of dance drama creation, it is necessary to understand an important premise-that is, the historical dance should conform to the realistic person, the character of the dance play and the artistic personality of the contemporary dancer. This is also our sense of comfort when the creation of the largest dance drama the most simple understanding.
【作者单位】：中华人民共和国文化部;
【分类号】：J723

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