从主体缺位到主体对话——一次实验性跨媒介展演引发的思考

发布时间：2018-04-22 16:36

  本文选题：异地表演 + 舞台化　； 参考：《民族艺术》2017年02期

【摘要】：民间、传统音乐脱离本土语境的"他处"表演,在不同的历史时空蕴含着不同的文化内涵与社会意义。无论是为彰显"主—从"(或"华—夷")关系的四方献乐,还是建设新民族国家背景下知识阶层、政府对传统音乐资源的发掘、征(引)用,脱语境化的传统音乐表演往往因"主体缺位"而更多呈现为社会表征、民族认同、商品经济的"资源"。《三经注水,传音入境》的实验性表演,强调"对话",以期于舞台表演展现民间智慧和声音,并在民间及传统音乐"主体性"的探索中,促成表演者、学者和公众在"观—演"关系上的合作与共谋。
[Abstract]:Folk and traditional music, which is separated from the local context, contains different cultural connotations and social meanings in different historical time and space. Whether it is to highlight the relationship between "master and follower" (or "Hua-Yi"), or to build the intellectual class in the context of the new nation-state, the government has exploited and used traditional music resources. Decontextualized traditional musical performances are often presented as social representation, national identity, and "resources" of the commodity economy because of the "absence of the subject". Emphasis is placed on "dialogue" in order to show folk wisdom and voice in stage performances, and to promote cooperation and collusion among performers, scholars and the public in the relationship between "view and performance" in folk and traditional music "subjectivity".
【作者单位】： 中国音乐学院;扬州大学音乐学院;行耳文化传播有限公司;
【分类号】：J607
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本文编号：1788032