原始《大韶》的舞蹈文化信息解读

发布时间：2019-06-09 11:53

【摘要】：《大韶》是古代舜帝的乐舞,不同的古籍对此有相似的多种称谓,如《九韶》《九招》《萧韶》《韶削》《韶虞》,或简称《韶》。原始《大韶》在舜、禹、启三代,便有着差异明显的两种形态,比较两者之后,两种形态都运用于祭祀礼仪,但是祭祀的内涵和形态却有明显区别。从舞蹈本体来说,周代的"制礼作乐"是《大韶》舞蹈形态历史变迁的一个重要分水岭,包括《大韶》在内的原始"六代舞"自此被倒入了一个统一的模具:表演等级化、风格功能化、道具符号化、队形"佾舞化",在"雅乐"的光环下,成为祭祀场合中左手执龠,右手秉翟的文、武二舞,并且将这一形态持守了两千多年。能文能武,文舞昭德,武舞象功,文武之道,在"六代舞"(包括《大韶》)里得到了体现,然而,这既是思想的图解和落实,同时也是舞蹈艺术自由意志和生命力的衰减。
[Abstract]:< Dashao > is the music and dance of Emperor Shun in ancient times. Different ancient books have similar titles, such as < Jiushao > < Shaoshao > < Shaoyu >, or abbreviated as < Shao >. In the three dynasties of Shun, Yu and Kai, there were two obvious differences in the original "Dashao". After comparing the two forms, the two forms were applied to the ritual of sacrifice, but the connotation and form of the sacrifice were obviously different. As far as the dance Noumenon is concerned, the "ritual music" of the Zhou Dynasty is an important watershed in the historical changes of the dance form of "Dashao". Since then, the original "six generations of dance", including Dashao, has been poured into a unified mold: performance levelling. The style is functionalized, the props are symbolized, and the formation is "dancing". Under the aura of "elegant music", it has become the left hand holding in the sacrifice occasion, the right hand adhering to the text of Zhai, the second dance of Wu, and holding this form for more than two thousand years. The ability to write, dance, martial arts and martial arts are embodied in the "six generations of dance" (including Dashao). However, this is not only the diagram and implementation of thought, but also the attenuation of free will and vitality of dance art.
【作者单位】：中国艺术研究院舞蹈研究所;
【分类号】：J709.2

【共引文献】